say what you must.”  I was thinking more especially of rhymed verse.  Rhythm alone is a tether, and not a very long one.  But rhymes are iron fetters; it is dragging a chain and ball to march under their incumbrance; it is a clog-dance you are figuring in, when you execute your metrical pas seul.  Consider under what a disadvantage your thinking powers are laboring when you are handicapped by the inexorable demands of our scanty English rhyming vocabulary!  You want to say something about the heavenly bodies, and you have a beautiful line ending with the word stars.  Were you writing in prose, your imagination, your fancy, your rhetoric, your musical ear for the harmonies of language, would all have full play.  But there is your rhyme fastening you by the leg, and you must either reject the line which pleases you, or you must whip your hobbling fancy and all your limping thoughts into the traces which are hitched to one of three or four or half a dozen serviceable words.  You cannot make any use of cars, I will suppose; you have no occasion to talk about scars; “the red planet Mars” has been used already; Dibdin has said enough about the gallant tars; what is there left for you but bars?  So you give up your trains of thought, capitulate to necessity, and manage to lug in some kind of allusion, in place or out of place, which will allow you to make use of bars.  Can there be imagined a more certain process for breaking up all continuity of thought, for taking out all the vigor, all the virility, which belongs to natural prose as the vehicle of strong, graceful, spontaneous thought, than this miserable subjugation of intellect to the-clink of well or ill matched syllables?  I think you will smile if I tell you of an idea I have had about teaching the art of writing “poems” to the half-witted children at the Idiot Asylum.  The trick of rhyming cannot be more usefully employed than in furnishing a pleasant amusement to the poor feeble-minded children.  I should feel that I was well employed in getting up a Primer for the pupils of the Asylum, and other young persons who are incapable of serious thought and connected expression.  I would start in the simplest way; thus:—­

     When darkness veils the evening.... 
     I love to close my weary....

The pupil begins by supplying the missing words, which most children who are able to keep out of fire and water can accomplish after a certain number of trials.  When the poet that is to be has got so as to perform this task easily, a skeleton verse, in which two or three words of each line are omitted, is given the child to fill up.  By and by the more difficult forms of metre are outlined, until at length a feebleminded child can make out a sonnet, completely equipped with its four pairs of rhymes in the first section and its three pairs in the second part.

Number Seven interrupted my discourse somewhat abruptly, as is his wont; for we grant him a license, in virtue of his eccentricity, which we should hardly expect to be claimed by a perfectly sound Teacup.