For an example of the satisfaction the ordinary mind takes in mere metre there is nothing better than the senseless refrains of popular songs—things which make not even the pretense of containing ideas. From the “hey ding a ding” of Shakspeare and the “luddy, fuddy,” etc., of Mr. Lester Wallack’s famous thieves’ song in “Rosedale,” to the “whack fol-de-rol” of inferior and less original composers, they are all alike in appealing to nothing in the world but the sense of time. And in this they differ in no essential particular from the verses in the newspapers; for such ideas as these contain—and God knows they are harmless—are probably never perfectly grasped by the reader, who, when he has finished his “poem,” is very sure to be unable to tell you what it is all about. I have proved this by repeated experiments, and I believe I am not far wrong on the side of immoderation in saying that of every one hundred adults who can read and write with ease, there are ninety and nine to whom poetry is a sealed book—who not only do not recognize it when read, but do not understand it when pointed out. There is hardly any subject on which the ignorance of educated persons is more deep, dark and universal. And in one sense it is hopeless. By no set instruction can a knowledge of poetry be gained. It is (to those having the capacity) a result of general refinement—the fruit of a taste and judgment that come of culture. The difficulty of imparting it is immensely enhanced by the want of a definition. If one have gift and knowledge it is easy enough to say what is poetry, but not so easy to say what poetry is.