Poets From England

"Whoever has approved this idea of order, of the form of European, of English literature, will not find it preposterous that the past should be altered by the present as much as the present is directed by the past. And the poet who is aware of this will be aware of great difficulties and responsibilities."

"Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, "tradition" should positively be discouraged. We have seen many such simple currents soon lost in the sand; and novelty is better than repetition. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indispensable to anyone who would continue to be a poet beyond his twenty-fifth year..."

"What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new."

"No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of æsthetic, not merely historical, criticism."

"The historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity."

"We dwell with satisfaction upon the poet's difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity."

"We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown."

"I grow old ... I grow old ... I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me."

"No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous — Almost, at times, the Fool."

"It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a Pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all.""

"I am no prophet — and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid."

"Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis?"

"I should have been a pair of ragged claws Scuttling across the floors of silent seas."

"Arms that are braceleted and white and bare [But in the lamplight, downed with light brown hair!] Is it perfume from a dress That makes me so digress?"

"The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways?"

"I know the voices dying with a dying fall Beneath the music from a farther room."

"For I have known them all already, known them all: — Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons."

"In a minute there is time For decisions and revisions which a minute will reverse."

"Do I dare Disturb the universe?"

"In misery's darkest cavern known, His useful care was ever nigh Where hopeless anguish pour'd his groan, And lonely want retir'd to die."

"Officious, innocent, sincere, Of every friendless name the friend."

"His [David Garrick's] death has eclipsed the gaiety of nations, and impoverished the public stock of harmless pleasure."

"The Churchyard abounds with images which find a mirror in every mind, and with sentiments to which every bosom returns an echo."

"He delighted to tread upon the brink of meaning."

"It is not by comparing line with line, that the merit of great works is to be estimated, but by their general effects and ultimate result. It is easy to note a weak line, and write one more vigorous in its place; to find a happiness of expression in the original, and transplant it by force into the version: but what is given to the parts may be subducted from the whole, and the reader may be weary, though the critick may commend. Works of imagination excel by their allurement and delight; by their power of attracting and detaining the attention. That book is good in vain, which the reader throws away. He only is the master, who keeps the mind in pleasing captivity; whose pages are perused with eagerness, and in hope of new pleasure are perused again; and whose conclusion is perceived with an eye of sorrow, such as the traveller casts upon departing day."

"He that thinks himself capable of astonishing may write blank verse: but those that hope only to please must condescend to rhyme."

"'Paradise Lost' is one of the books which the reader admires and lays down, and forgets to take up again. None ever wished it longer than it is."

"Poetry is the art of uniting pleasure with truth, by calling imagination to the help of reason."

"Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison."

"In this work are exhibited, in a very high degree, the two most engaging powers of an author. New things are made familiar, and familiar things are made new."

"Self-confidence is the first requisite to great undertakings."

"Language is the dress of thought."

"Those writers who lay on the watch for novelty, could have little hope of greatness; for great things cannot have escaped former observation."

"The true Genius is a mind of large general powers, accidentally determined to some particular direction."

"Of the proportion, which the product of any region bears to the people, an estimate is commonly made according to the pecuniary price of the necessities of life; which is never certain, because it supposes what is far from truth, that the value of money is always the same, and so measures an unknown quantity by an uncertain standard. It is competent enough when the markets of the same country, at different times, and those times not too distant, are to be compared; but of very little use for the purpose of making one nation acquainted with the state of another."

"Power and wealth supply the place of each other. Power confers the ability of gratifying our desire without the consent of others. Wealth enables us to obtain the consent of others to our gratification. Power, simply considered, whatever it confers on one, must take from another. Wealth enables its owner to give to others, by taking only from himself. Power pleases the violent and proud: wealth delights the placid and the timorous. Youth therefore flies at power, and age grovels after riches."

"The change of religion in Scotland, eager and vehement as it was, raised an epidemical enthusiasm, compounded of sullen scrupulousness and warlike ferocity, which, in a people whom idleness resigned to their own thoughts, and who conversing only with each other, suffered no dilution of their zeal from the gradual influx of new opinions, was long transmitted in its full strength from the old to the young, but by trade and intercourse with England, is now visibly abating, and giving way too fast to their laxity of practice and indifference of opinion, in which men, not sufficiently instructed to find the middle point, too easily shelter themselves from rigour and constraint."

"A man sometimes starts up a patriot, only by disseminating discontent, and propagating reports of secret influence, of dangerous counsels, of violated rights, and encroaching usurpation. This practice is no certain note of patriotism. To instigate the populace with rage beyond the provocation, is to suspend publick happiness, if not to destroy it. He is no lover of his country, that unnecessarily disturbs its peace. Few errours and few faults of government, can justify an appeal to the rabble; who ought not to judge of what they cannot understand, and whose opinions are not propagated by reason, but caught by contagion. The fallaciousness of this note of patriotism is particularly apparent, when the clamour continues after the evil is past."

"The greater, far the greater number of those who rave and rail, and inquire and accuse, neither suspect nor fear, nor care for the publick; but hope to force their way to riches, by virulence and invective, and are vehement and clamorous, only that they may be sooner hired to be silent."

"Some claim a place in the list of patriots, by an acrimonious and unremitting opposition to the court. This mark is by no means infallible. Patriotism is not necessarily included in rebellion. A man may hate his king, yet not love his country."

"Let us take a patriot, where we can meet him; and, that we may not flatter ourselves by false appearances, distinguish those marks which are certain, from those which may deceive; for a man may have the external appearance of a patriot, without the constituent qualities; as false coins have often lustre, though they want weight."

"It ought to be deeply impressed on the minds of all who have voices in this national deliberation, that no man can deserve a seat in parliament, who is not a patriot. No other man will protect our rights: no other man can merit our confidence. A patriot is he whose publick conduct is regulated by one single motive, the love of his country; who, as an agent in parliament, has, for himself, neither hope nor fear, neither kindness nor resentment, but refers every thing to the common interest."

"It was never supposed that cogitation is inherent in matter, or that every particle is a thinking being. Yet, if any part of matter be devoid of thought, what part can we suppose to think? Matter can differ from matter only in form, density, bulk, motion, and direction of motion: to which of these, however varied or combined, can consciousness be annexed? To be round or square, to be solid or fluid, to be great or little, to be moved slowly or swiftly one way or another, are modes of material existence, all equally alien from the nature of cogitation. If matter be once without thought, it can only be made to think by some new modification, but all the modifications which it can admit are equally unconnected with cogitative powers."

""Some," answered Imlac, "have indeed said that the soul is material, but I can scarcely believe that any man has thought it, who knew how to think; for all the conclusions of reason enforce the immateriality of mind, and all the notices of sense and investigations of science, concur to prove the unconsciousness of matter."

"The world is not yet exhausted: let me see something to-morrow which I never saw before."

"The endearing elegance of female friendship."

"Integrity without knowledge is weak and useless, and knowledge without integrity is dangerous and dreadful."

"Yet I do not mean to add new terrors to those which have already seized upon Pekuah. There can be no reason why spectres should haunt the Pyramid more than other places, or why they should have power or will to hurt innocence and purity. Our entrance is no violation of their privileges: we can take nothing from them; how, then, can we offend them?"

""That the dead are seen no more," said Imlac, "I will not undertake to maintain against the concurrent and unvaried testimony of all ages and of all nations. There is no people, rude or learned, among whom apparitions of the dead are not related and believed. This opinion, which perhaps prevails as far as human nature is diffused, could become universal only by its truth: those that never heard of one another would not have agreed in a tale which nothing but experience can make credible. That it is doubted by single cavillers can very little weaken the general evidence, and some who deny it with their tongues confess it by their fears."

"Such is the common process of marriage. A youth and maiden meeting by chance, or brought together by artifice, exchange glances, reciprocate civilities, go home, and dream of one another. Having little to divert attention, or diversify thought, they find themselves uneasy when they are apart, and therefore conclude that they shall be happy together. They marry, and discover what nothing but voluntary blindness had before concealed; they wear out life in altercations, and charge nature with cruelty."