O ye! who teach the ingenious youth of nations, Holland, France, England, Germany or Spain, I pray ye flog them upon all occasions, It mends their morals, never mind the pain.
I feel my immortality over sweep all pains, all tears, all time, all fears, - and peal, like the eternal thunders of the deep, into my ears, this truth, - thou livest forever!
She is all the great heroines of the world in one. She is more than an individual. I love her, and I must make her love me. I want to make Romeo jealous. I want the dead lovers of the world to hear our laughter, and grow sad. I want a breath of our passion to stir dust into consciousness, to wake their ashes into pain.
I sometimes hold it half a sin To put in words the grief I feel For words, like nature, half reveal And half conceal the soul within. But, for the unquiet heart and brain A use measured language lie's The sad mechanic exercise Like dull narcotic's, numbing pain In words, like weeds, I'll wrap me o'er Like coarsest clothes against the cold But large grief which these enfold Is given in outline and no more.
The ridiculous is produced by any defect that is unattended by pain, or fatal consequences; thus, an ugly and deformed countenance does not fail to cause laughter, if it is not occasioned by pain.
Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in pain. This is the source also of the melancholy which is inseparable from the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure of pleasure itself.