John Hay was a true poet; so is Riley; so is Kipling. In addition to their panderings to peasants all have written well. At their best they stir the blood and thrill the nerves of all who can be trusted to feel because taught to think. Yet the late Charles A. Dana, who for years successfully posed as a judge of poetry, had at last the indiscretion to disclose himself by a specific utterance of his taste: he pronounced Kipling’s “Gunga Din” one of the greatest of English poems! After that there was no more to say about Dana, but Dana had not the reticence to say it. Poetry, like any other art, is a matter of manner. If the manner is that of a clown the matter will not redeem it, but, as the dyer’s hand is “subdued to what it works in,” will itself be smirched by its environment. English of the cornfield and the slum is suited to certain kinds of humor and in moderation may itself be amusing, but it has no place in serious or sentimental composition, either verse or prose. Persons writing it confess their peasant understandings, and those who like “dialect poems” like them because they do not know any better than to like them, and that’s all there is to it. The prose writer whom I have quoted probably does know better, but prefers to march with the procession. Since he mentions Homer and Tennyson (to affirm the greater glory of the author of “Little Breeches” and “Jim Bludso”), perhaps he will permit himself to be asked if he sees no “unselfish courage” in Hector?—no “sublime devotion” in Penelope?—none in Enid?—nothing magnanimous in Arthur’s tenderness to Guinevere? Does he think these noble qualities would shine with a diviner light in the character of a corn-fed lout of the stables, a whiskey-sodden riverman or a slattern of the slums? The higher virtues are not a discovery of yesterday; they were known as long ago as last week; and some of us who affect an acquaintance with antiquity profess to have found traces of them in the poetry of an even earlier period, before all men began to be born equal. In “the glory that was Greece and the grandeur that was Rome” there were singing pigs, as there are to-day, and doubtless they had their special wallows with mud of a particular brew; but they were not permitted to thrust their untidy muzzles into the sweet water of the Pierian Spring, turn it into slime and scatter plenty of it o’er a smiling land. It has remained for the “fierce democracies” of the Brand-New World to impose upon letters the law of the Dominion of Dirt. The leader of the New Movement is indubitably Mr. James Whitcomb Riley, and here is an example of his work. It is called “His Pa’s Romance,” and these two passages are quoted with effusion by one of the “critics”: Elsie lisps so, she can’t say Her own name, ist any way She says ‘Elthy’—like they wuz Feathers on her words, an’ they Ist stuck on her tongue like fuzz.