Thirty days hath September,
April, June, and November.
When a thing can be said just as well in prose, there is no excuse for not putting it in prose. That axiom should kill off half our amateur poets and rid the world of a nuisance. On the other hand, when a thought or a feeling is to be communicated from a mind profoundly stirred, exalted, filled with fervour, or from a mind tingling with exquisite perceptions, then there can be no true and full communication to another mind, unless that mind also is stirred, exalted or made to tingle. Music can so dispose that other mind. So too can language; for, under the influence of poetry of perfect sound, we find stealing over us, thanks largely to the sound, a mood which could never result from prose; and so our minds are polarized to feel the actual thing expressed exactly as the writer feels it, to see it exactly as he sees it. Verse-poetry, therefore, is no idle invention. It has its sound philosophical basis; and where poetry is really demanded by the subject, it is part and parcel of the supreme literary gift to wed the music of the verse so aptly to the thought, that the communication from soul to soul is utterly complete.
Is verse a mere conviction? Let us see. Does any one pretend that his spirit would be just as much moved by the mere sense of this passage of Tennyson, if it were stripped of its verse form and turned into prose:—
Tears, idle tears, I know not what they mean.
Tears from the depths of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy autumn fields,
And thinking of the days that are no more.
and—
Dear as remember'd kisses after death,
And sweet as those by hopeless fancy feign'd
On lips that are for others; deep as love,
Deep as first love, and wild with all regret;
O Death in Life, the days that are no more.
If he does, let us not envy him his powers of perception or sensation.
Would you feel for Coleridge just the same mood of sympathy, if he told you his sad case in prose, as when he writes:—
A grief without a pang, void, dark and drear,
A stifled, drowsy, unimpassioned grief,
Which finds no natural outlet, no relief,
In word or sigh or tear.
Listen once more to this:—