The fact is, there are bound to be these freaks and extravagances whilst a style is still in such an inchoate and experimental state as English prose was in from the time of Malory and Berners, and the other early architects of a style unfettered by metre, with whom, as Mr John Dover Wilson has shown in his work on John Lyly, the germs of Euphuism found their way into English long before Guevara was known in this country, although the tendency is nearly always attributed to his influence. The writers of this period could not evolve even a poetic prose without falling into these pitfalls, for the simple reason that they wrote a century before the principles of what may be called a normal prose style had been determined. Mr Watts-Dunton has pointed out that in the present age there is another kind of poetic prose in process of evolution, a prose “which above all other kinds holds in suspense the essential qualities of poetry.” Prose to be truly poetical, he argues, must move far away from the “tremendous perorations of De Quincey, or the sonorous and highly-coloured descriptions of Ruskin,” and must no doubt be something very different from what Sidney and other writers made of Elizabethan prose, noble as their achievement was. “It must, in a word, have all the qualities of what we technically call poetry except metre. We have, indeed, said before that while the poet’s object is to arouse in the listener an expectancy of caesuric effects, the great goal before the writer of poetic prose is in the very opposite direction; it is to make use of the concrete figures and impassioned diction that are the poet’s vehicle, but at the same time to avoid the expectancy of metrical bars.” Such a prose as this must be the very latest product of literary effort. Its difference from the poetic prose actually evolved in the transitional age with which we are dealing, is the difference between an art founded on long experience and many attempts and failures, and above all on a sound philosophy of aesthetic causes and effects, and the essays of {xx} men who were not yet clear as to the objects they ought to aim at. So uncertain was Sidney even as to the true genius of English poetry that he was one of the most ardent members of the “Areopagus,” who endeavoured to reform English poetry on Italian and classical principles, the results of which attempt may be appraised in the verses inserted in the _Arcadia_. The indispensable basis for a sound poetic prose, if such a thing is feasible, must be a satisfactory norm of unpoetic prose.