One would not care to give up the philosophy that underruns so much of Shakspeare’s work, but how little its occasional absence affects our delight is shown by the reading of such “nonsense verses” as the song in a “As You Like It,” beginning: It was a lover and his lass, With a hey, and a ho, and a hey nonino. One does not need the music; the lines sing themselves, and are full of the very spirit of poetry. What the dickens they may chance to mean is quite another matter. What is poetry, anyhow, but “glorious nonsense”? But how very glorious the nonsense happens to be! What “thought” did Ariel try to express in his songs in “The Tempest”? There is hardly the tenth part of a thought in them; yet who that has a rudimentary, or even a vestigial, susceptibility to sentiment and feeling, can read them without the thrill that is stubborn to the summoning of the profoundest reflections of Hamlet in his inkiest cloak? Poetry may be conjoined with thought. In the great poets it commonly is—that is to say, we award the palm to him who is great in more than one direction. But the poetry is a thing apart from the thought and demanding a separate consideration. The two have no more essential connection than the temple and its granite, the statue and its bronze. Is the sculptor’s work less great in the clay than it becomes in the hands of the foundry man? No one, not the greatest poet nor the dullest critic, knows what poetry is. No man, from Milton down to the acutest and most pernicious lexicographer, has been able to define its name. To catch that butterfly the critic’s net is not fine enough by much. Like electricity, it is felt, not known. If it could be known, if the secret were accessible to analysis, why, one could be taught to write poetry without having been “born unto singing.” So it happens that the most penetrating criticism must leave eternally unsaid the thing that is most worth saying. We can say of a poem as of a picture, an Ionic column, or any work of art: “It is charming!” But why and how it charms—there we are dumb, its creator no less than another. What is it in art before which all but the unconscious peasant and the impenitent critic confess the futility of speech? Why does a certain disposition of words affect us deeply when if differently arranged to mean the same thing they stir no emotion whatever? He who can answer that has surprised the secret of the Sphinx, and after him shall be no more poetry forever! Expound who is able the charm of these lines from “Kubla Khan:” A damsel with a dulcimer In a vision once I saw. It was an Abyssinian maid, And on her dulcimer she played, Singing of Mount Abora. There is no “thought” here—nothing but the baldest narrative in common words arranged in their natural order; but upon whose heart-strings does not that maiden play?—and who does not adore her?