In less archaic phrase, no man who knows his Milton and his Wordsworth can sit silent and be told that "when a perfect sonnet" (a _perfect_ sonnet, remember!) "is duly whittled out, it is usually found to be worth about as much as a well-crocheted lambrequin"--whatever that may be. No man who has delighted in his Praed, his Ingoldsby, his Locker, Calverley, Lang, Austin Dobson, Owen Seaman and the rest, can see them all swept into the scrap-heap as "worn out--an exhibition of adroitness ... for impressing a circus audience!" No man can hear with patience the undoubted fact that the blank verse of Shakspeare and Milton was "written quite without rhyme," adduced, with an air of giving light to them that sit in darkness, by way of supporting a hurly-burly of words which has been well compared to "pumpkins rolling over a barn-floor." That blank verse does not rhyme is too "elementary" to need discussion: and the Eocene minds which still read Shakspeare, Milton, and even Tennyson, are thoroughly aware that the construction of blank verse is governed by no less rigorous rules than the sonnet or the dainty old French forms which Austin Dobson and our own Bunner made exquisite in English. But the foe of rhyme is by no means limited to blank verse in support of his thesis: experiments in unrhymed metre are by no means new. Bulwer tamed the Latin verse-forms to eat out of his hand; Ossian and his collateral descendant, "Fiona Macleod," made chamber music of the wild harp of the Gael; Aldrich, in his youth, went far toward establishing his fame with the _Ballad of Baby Bell_: Charles Henry Lüders, untimely dead a generation ago, achieved a gem in his brief dirge, _The Four Winds_. One may be a poet without ever having written a line in metre. It is doubtful whether Mrs. Meynell's well-won reputation--a reputation which brought her, in a "popular ballot" for England's laureateship, nearly six thousand votes, and a place second only to Rudyard Kipling--does not rest quite as much upon the poetic beauty of her essays as upon her verse. "The mighty engine of English prose" is always available for the writer with "a message;" Lincoln did not elect to "sing" his Gettysburg address, which no recent bard whom it has been my privilege to read has surpassed. If the bearer of the "message" have not the sense of music which produces that perfection of rhythm needing no grace of rhyme; if he object to rhyme "because," according to a recent candid outburst, "it is so confoundedly hard to find!" the lyre and even the oaten pipe are not for him. Nothing is easier to compass, in either prose or metre, than the cryptic, the portentous; the bellow of the trombone, the thud of the big drum, will always cause some one to listen, at least long enough to find out what is causing the disturbance. But neither Vorticist, Polyrhythmicist, nor any other specialist in Parnassian wares, need flatter himself that lines of assorted lengths, huddled like jack-straws, make poetry. If any