Emerson’s verse has been a fertile source of discussion.  Some have called him a poet and nothing but a poet, and some have made so much of the palpable defects of his verse that they have forgotten to recognize its true claims.  His prose is often highly poetical, but his verse is something more than the most imaginative and rhetorical passages of his prose.  An illustration presently to be given will make this point clear.

Poetry is to prose what the so-called full dress of the ball-room is to the plainer garments of the household and the street.  Full dress, as we call it, is so full of beauty that it cannot hold it all, and the redundancy of nature overflows the narrowed margin of satin or velvet.

It reconciles us to its approach to nudity by the richness of its drapery and ornaments.  A pearl or diamond necklace or a blushing bouquet excuses the liberal allowance of undisguised nature.  We expect from the fine lady in her brocades and laces a generosity of display which we should reprimand with the virtuous severity of Tartuffe if ventured upon by the waiting-maid in her calicoes.  So the poet reveals himself under the protection of his imaginative and melodious phrases,—­the flowers and jewels of his vocabulary.

Here is a prose sentence from Emerson’s “Works and Days:”—­

“The days are ever divine as to the first Aryans.  They come and go like muffled and veiled figures, sent from a distant friendly party; but they say nothing, and if we do not use the gifts they bring, they carry them as silently away.”

Now see this thought in full dress, and then ask what is the difference between prose and poetry:—­

  “DAYS.

  “Daughters of Time, the hypocritic Days,
  Muffled and dumb like barefoot dervishes,
  And marching single in an endless file,
  Bring diadems and fagots in their hands. 
  To each they offer gifts after his will,
  Bread, kingdom, stars, and sky that holds them all. 
  I, in my pleached garden watched the pomp,
  Forgot my morning wishes, hastily
  Took a few herbs and apples, and the Day
  Turned and departed silent.  I too late
  Under her solemn fillet saw the scorn.”

—­Cinderella at the fireside, and Cinderella at the prince’s ball!  The full dress version of the thought is glittering with new images like bracelets and brooches and ear-rings, and fringed with fresh adjectives like edges of embroidery.  That one word pleached, an heir-loom from Queen Elizabeth’s day, gives to the noble sonnet an antique dignity and charm like the effect of an ancestral jewel.  But mark that now the poet reveals himself as he could not in the prosaic form of the first extract.  It is his own neglect of his great opportunity of which he now speaks, and not merely the indolent indifference of others.  It is himself who is the object of scorn.  Self-revelation of beauty embellished by ornaments is the privilege of full dress; self-revelation