n sense of readers will always bring about a reaction in favour of sanity and lucidity.
One great objection to the introduction of a tortured and affected style into verse-writing is the sacrifice which has to be made of that dignity and sweetness, that suave elevation, which marks all successful masterpieces. Perhaps as difficult a quality to attain as any which the poetry of the future will be called upon to study is stateliness, what the French call 'la vraie hauteur'. This elevation of style, this dignity, is foreign to democracies, and it is hard to sustain it in the rude air of modern life. It easily degenerates, as Europe saw it degenerate for a century and a half, into pomposity relieved by flatness. It is apt to become a mere sonorous rhetoric, a cultivation of empty fine phrases. If we examine the serious poetry of the end of the seventeenth and the greater part of the eighteenth century,--especially in the other countries of Europe, for England was never without some dew on the threshing-flo
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