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Hegel, it might be said, is in the clouds; he is out of touch with science, and with that logic of facts which rules investigations of the present day. But the same way of thinking holds with a practical Englishman like Mr. Edmund Gurney,^[125] whose feet are planted very firmly on solid ground, who is distinctly hostile to the poem in prose, that “pestilent heresy,” as Professor Saintsbury has called it, and whose idea of art, which always includes an appeal to the sense of form, demands in poetry a definite metre or rhythm. And the same way of thinking holds with a student of modern psychology, M. Souriau,^[126] who undertakes to define poetry in terms of science. Poetry itself derives from music and prose,—presumably he means by prose the speech of daily life, and not what Walter Pater means in his essay on Style when he makes “music and prose literature ... the opposite terms of art”; poetry might therefore be called musical speech.^[127] To show how much depends on the music, M. Souriau turns to translations from foreign poetry into prose vernacular. “The more poetical this original text, the more it loses in the change.... This depreciation is due to the change of process, and not to the change of tongue, for the translation of a piece of prose would not show these faults.” On the other hand, now, take an irreproachable piece of verse, with this superiority just shown to be due to its rhythm, and look at it with regard to logical worth. How unsatisfying, how “thin,” is the thought in it! Change again the point of view, and study poetry for its music; one will be no better pleased than when one hunted for its thought. The rhythm would be intolerably monotonous in a piece of music. The sonorous words, taken as sound, are not really pleasing to the ear. Rime, if one will look at it this way, is a procédé enfantin. In sum, poetry is logically inferior to prose, and musically inferior to pure melody,—and what, then, is its own charm? It pleases us, not by either one of these elements, but by their combination; it is harmony, but in a peculiar sense. “It is not the harmony of thought, logical system, and order, not the harmony of sounds or musical system, but the harmony between sounds and thoughts. One loves to feel the idea bending and adjusting itself to the rules of verse, and the verse yielding to the demands of the idea.”^[128]