"This is all very true," interrupts the Logical Person, "about printing presses and looms and everything else--one could go on forever--but it does not prove anything. It may be true that the loom has made twenty readers for Robert Browning's poetry where Browning would have made but one, but it does not follow that because the loom has freed women for beauty that the loom is beautiful, or that it is a fit theme for poetry." "Besides"--breaks in the Minor Poet--"there is a difference between a thing's being full of big ideas and its being beautiful. A foundry is powerful and interesting, but is it beautiful the way an electric fountain is beautiful or a sonnet or a doily?" This brings to a point the whole question as to where the definition of beauty--the boundary line of beauty--shall be placed. A thing's being considered beautiful is largely a matter of size. The question "Is a thing beautiful?" resolves itself into "How large has a beautiful thing a right to be?" A man's theory of beauty depends, in a universe like this, upon how much of the universe he will let into it. If he is afraid of the universe if he only lets his thoughts and passions live in a very little of it, he is apt to assume that if a beautiful thing rises into the sublime and immeasurable--suggests boundless ideas--the beauty is blurred out of it. It is something--there is no denying that it is something--but, whatever it is or is not, it is not beauty. Nearly everything in our modern life is getting too big to be beautiful. Our poets are dumb because they see more poetry than their theories have room for. The fundamental idea of the poetry of machinery is infinity. Our theories of poetry were made--most of them--before infinity was discovered. Infinity itself is old, and the idea that infinity exists--a kind of huge, empty rim around human life--is not a new idea to us, but the idea that this same infinity has or can have anything to do with us or with our arts, or our theories of art, or that we have anything to do with IT, is an essentially modern discovery. The actual experience of infinity--that is, the experience of being infinite (comparatively speaking)--as in the use of machinery, is a still more modern discovery. There is no better way perhaps, of saying what modern machinery really is, than to say that it is a recent invention for being infinite.