A defence of poetry. Essay on the literature, arts, and manners of the Athenians. Preface to the Banquet of Plato. The banquet

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Lea and Blanchard, 1840
 

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第 29 頁 - But poets, or those who imagine and express this indestructible order, are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting; they are the institutors of laws, and the founders of civil society, and the inventors of the arts of life, and the teachers, who draw into a certain propinquity with the beautiful and the true, that partial apprehension of the agencies of the invisible world which is called religion.
第 54 頁 - But it exceeds all imagination to conceive what would have been the moral condition of the world if neither Dante, Petrarch, Boccaccio, Chaucer, Shakespeare, Calderon, Lord Bacon, nor Milton had ever existed...
第 30 頁 - But poetry in a more restricted sense expresses those arrangements of language, and especially metrical language, which are created by that imperial faculty; whose throne is curtained within the invisible nature of man. And this springs from the nature itself of language, which is a more direct representation of the actions and passions of our internal being, and is susceptible of more various and delicate combinations, than colour, form, or motion, and is more plastic and obedient to the control...
第 62 頁 - The persons in whom this power resides, may often, as far as regards many portions of their nature, have little apparent correspondence with that spirit of good of which they are the ministers. But even whilst they deny and abjure, they are yet compelled to serve, the power which is seated on the throne of their own soul.
第 58 頁 - Poetry thus makes immortal all that is best and most beautiful in the world; it arrests the vanishing apparitions which haunt the interlunations of life, and veiling them, or in language or in form, sends them forth among mankind, bearing sweet news of kindred joy to those with whom their sisters...
第 57 頁 - It is as it were the interpenetration of a diviner nature through our own ; but its footsteps are like those of a wind over the sea, which the coming calm erases, and whose traces remain only as on the wrinkled sand which paves it.
第 56 頁 - The greatest poet even cannot say it ; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness ; this power arises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure.
第 29 頁 - A poet participates in the eternal, the infinite, and the one; as far as relates to his conceptions, time and place and number are not. The grammatical forms which express the moods of time, and the difference of persons, and the distinction of place, are convertible with respect to the highest poetry without injuring it as poetry...
第 35 頁 - Few poets of the highest class have chosen to exhibit the beauty of their conceptions in its naked truth and splendour ; and it is doubtful whether the alloy of costume, habit, &c., be not necessary to temper this planetary music for mortal ears.
第 35 頁 - The great secret of morals is love ; or a going out of our own nature, and an identification of ourselves with the beautiful which exists in thought, action, or person, not our own. A man, to be greatly good, must imagine intensely and comprehensively ; he must put himself in the place of another and of many others ; the pains and pleasures of his species must become his own. The great instrument of moral good is the imagination ; and poetry administers to the effect by acting upon the cause.

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