Leaving out of consideration those peculiarities such as rhyme and special diction, which although often of much effect are not essential since poetry may be great without them, it is sufficiently exact for a general examination to say that the effects of poetry are produced by the threefold union of ideas, suggestion, and melody. In the use of ideas poetry is on much the same footing as prose, except in so far as it deals with exalted moods which have no connection with thoughts which are mean or commonplace. In the use of suggestion poetry but carries farther the means employed in imaginative prose. Melody may be said practically to be its own prerogative. The smoothest flow of rhythmical prose falls far below the melodious cadences of metrical language; and in this manner of appeal to the senses and the soul of man verse has no rival save music itself. These three qualities may be examined separately. Verse may be found in which there is almost nothing but melody, divorced from suggestion or ideas. There are good examples in Edward Lear's "Nonsense Songs," in which there is an intentional lack of sense; or in the "Alice" books, as, for instance:-- And as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgy wood, And burbled as it came!... "And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!" He chortled in his joy. Or one may take something which will convey no idea and no suggestion beyond that which comes with sound and rhythm. Here is a verse once made in sport to pass as a folk-song in an unknown tongue:-- Apaulthee kong lay laylarthay; Ameeta tinta prown, Lay lista, lay larba, lay moona long, Toolay échola doundoolay koko elph zong, Im lay melplartha bountaina brown. This is a collection of unmeaning syllables, and yet to the ear it is a pleasure. The examples may seem trivial, but they serve to illustrate the fact that there is magic in the mere sound of words, meaning though they have none. The possibility of pleasing solely by the arrangement and choice of words in verse has been a snare to more than one poet; as a neglect of melody has been the fault of others. In much of the later work of Swinburne it is evident that the poet became intoxicated with the mere beauty of sound, and forgot that poetry demands thought as well as melody; while the reader is reluctantly forced to acknowledge that in some of the verse of Browning there is a failure to recognize that melody is an element as essential as thought. As verse may be found which has little but melody, so is it possible to find verse in which there is practically nothing save melody and suggestion. In "Ulalume" Poe has given an instance of the effect possible from the combining of these with but the thinnest thread of idea:--