We recognise in the finished art, which is the result of these conditions, the best words in the best order - poetry; and to put this essential poetry into different classes is impossible.

If it is an imperfect word, no external circumstance can heighten its value as poetry.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.

Great men are rare, poets are rarer, but the great man who is a poet, transfiguring his greatness, is the rarest of all events.

To know anything of a poet but his poetry is, so far as the poetry is concerned, to know something that may be entertaining, even delightful, but is certainly inessential.

It should here be added that poetry habitually takes the form of verse.

Poetry being the sign of that which all men desire, even though the desire be unconscious, intensity of life or completeness of experience, the universality of its appeal is a matter of course.

To know anything of a poet but his poetry is, so far as the poetry is concerned, to know something that may be entertaining, even delightful, but is certainly inessential.

Poetry is the communication through words of certain experiences that can be communicated in no other way.

But in the finished art of the song the use of words has no connection with the use of words in poetry.

So it is in poetry. All we ask is that the mood recorded shall impress us as having been of the kind that exhausts the imaginative capacity; if it fails to do this the failure will announce itself either in prose or in insignificant verse.

The musician - if he be a good one - finds his own perception prompted by the poet's perception, and he translates the expression of that perception from the terms of poetry into the terms of music.