another in subtle generalization, at another in the playful conjunction of its sallies of wit and humour. (_γ_) Genuine poetic expression in short is as far removed from all rhetorical declamation as above described as it is from all ostentation and witty conceits of diction, in so far at least as such defects do injury to the ideal truth of Nature, and the claims of the content are forgotten in the verbal form and expression of the composition. It is, however, possible, despite of this, that the author's free enjoyment in his work declare itself with real beauty. In a word that aspect of the composition we define as formal diction ought not to be treated on its own and independent account alone, or as an aspect of first and even exclusive importance. And, generally speaking, in this analysis of the composition of poetry under its formative aspect, we repeat that what is the product of careful thought must not lose the appearance of genuine spontaneity: everything should impress us as though it had of itself blossomed from the ideal germ or heart of the subject-matter. 3. VERSIFICATION Our _third_ and final aspect of poetic expression is necessitated by the fact that the imagination of the poet does not merely invest ideas in words, but does so in the form of the uttered speech; and by doing so he consequently enters the domain wherein our senses are made aware of the actual sounds and music of speech. We are thus introduced to versification. Versified prose may give us verses, but that is not necessarily poetry. We have a parallel case in the merely poetic expression of a composition in other respects prosaic with its result of poetic prose simply. Yet for all that metre or rhyme is an essential demand of poetry, bringing, as it were, a perfume of its own to the senses; nay, it is even more essential than a richly imaginative and so-called beautiful diction.