Letter X CONVINCED by my preceding letters, you agree with me on this point, that man can depart from his destination by two opposite roads, that our epoch is actually moving on these two false roads, and that it has become the prey, in one case, of coarseness, and elsewhere of exhaustion and depravity. It is the beautiful that must bring it back from this twofold departure. But how can the cultivation of the fine arts remedy, at the same time, these opposite defects, and uni
THUS much is certain. It is only when a third character, as previously suggested, has preponderance that a revolution in a state according to moral principles can be free from injurious consequences; nor can anything else secure its endurance. In proposing or setting up a moral state, the moral law is relied upon as a real power, and free will is drawn into the realm of causes, where all hangs together mutually with stringent necessity and rigidity. But we know th
Part Four: Time and Eternity
X I DIED for beauty, but was scarce Adjusted in the tomb, When one who died for truth was lain In an adjoining room. He questioned softly why I failed? “For beauty,” I replied. “And I for truth,—the two are one; We brethren are,” he said. And so, as kinsmen met a night, We talked between the rooms, Until the moss had reached our lips, And covered up our names. Emily Dickinson, without doubt, earned her title as one of the Masters of Literature.
Language, color, form, and religious and civil habits of action, are all the instruments and materials of poetry; they may be called poetry by that figure of speech which considers the effect as a synonym of the cause. 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 o
They say that when we fall in love it is forever, and perhaps that is true. Even though we change who we are through time, through our life experiences, through emotions, through the dreams and hopes we follow, we remember and we forget; and even though those whom we love change as well . . . Love persists in our souls eternally, as a timeless flame. ~ "A Poet to his Beloved"
by William Butler Yeats I bring you with reverent hands
the books of m numberless dreams,
Listen . . . Do you hear that?
Perhaps it’s hard to hear with all those cars running by, or with all the rumbling and grumbling the factories make when you pass by. But the music of sound is always playing for those who listen. William Wordsworth (1770-1850) may be one of the best icons to represent the Romantic Movement. With the Lyrical Ballads composed with his friend Samuel Coleridge and many marvelous poems he wrote throughout his life, Wordsworth proves to be a Master
Following the Parnassian French poets of the late 19th century, comes one named Paul Verlaine, whose writings lead to inspire and shape the twentieth-century free verse. Hereby I shall present to you “The Art of Poetry” The Art of Poetry by Paul Verlaine You must have music first of all,
and for that a rhythm uneven is best.
vague in the air and soluble,
with nothing heavy and nothing at rest. You must not scorn to do some wrong
in choosing the words to fill your lines:
Soft, smooth surface like milk made flesh… Airy sway of millions and trillions of strings as if the wind were sweetly kissing the meadow…two dreamlike galaxies which emphasize a soaring brilliance into a charming Eden of delight…and a precious melodic voice so innocent, so mysterious and natural in sound that graces God’s name for such creation in the perfect time sung. Symbolism is a very visual writing technique, it makes you appreciate that in a more vivid matter; that whi