John Pinkerton, in his edition of The Bruce (London: G. Nicol, 1790) vol. 1, p. x.
Criticism
“The painter will produce pictures of little merit if he takes the works of others as his standard.”
Ibid.
Essays and reviews, At the Pillars of Hercules (1979)
Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.
Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
“A cheerful life is what the Muses love,
A soaring spirit is their prime delight.”
From the Dark Chambers of Dejection Freed, l. 13 (1814).
Epigram 5; translation by Jonathan Swift, cited from Anthologia Polyglotta (1849), edited by Henry Wellesley, p. 47
Epigrams
Savitri (1918-1950), Book Two : The Book of the Traveller of the Worlds
Context: A memory steals in from lost heavens of Truth,
A wide release comes near, a Glory calls,
A might looks out, an estranged felicity.
In glamorous passages of half-veiled light
Wandering, a brilliant shadow of itself,
This quick uncertain leader of blind gods,
This tender of small lamps, this minister serf
Hired by a mind and body for earth-use
Forgets its work mid crude realities;
It recovers its renounced imperial right,
It wears once more a purple robe of thought
And knows itself the Ideal's seer and king,
Communicant and prophet of the Unborn,
Heir to delight and immortality.
All things are real that here are only dreams,
In our unknown depths sleeps their reserve of truth,
On our unreached heights they reign and come to us
In thought and muse trailing their robes of light.
Standing by Words: Essays (2011), Poetry and Marriage: The Use of Old Forms (1982)
