The fury of a demon instantly possessed me. I knew myself no longer. My original soul seemed, at once, to take its flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame.
Were I called on to define, very briefly, the term Art, I should call it 'the reproduction of what the Senses perceive in Nature through the veil of the soul.' The mere imitation, however accurate, of what is in Nature, entitles no man to the sacred name of 'Artist.'
By the grey woods, by the swamp, where the toad and newt encamp, by the dismal tarns and pools, where dwell the Gouls. By each spot the most unholy, by each nook most melancholy, there the traveller meets, aghast, sheeted memories of the Past. Shrouded forms that start and sigh, as they pass the wanderer by. White-robed forms of friends long given; In agony, to the Earth - and Heaven.
Few persons can be made to believe that it is not quite an easy thing to invent a method of secret writing that shall baffle investigation. Yet it may be roundly asserted that human ingenuity cannot concoct a cipher which human ingenuity cannot resolve.
Men of genius are far more abundant than is supposed. In fact, to appreciate thoroughly the work of what we call genius, is to possess all the genius by which the work was produced.
The most natural, and, consequently, the truest and most intense of the human affections are those which arise in the heart as if by electric sympathy.
There are two bodies - the rudimental and the complete; corresponding with the two conditions of the worm and the butterfly. What we call "death," is but the painful metamorphosis. Our present incarnation is progressive, preparatory, temporary. Our future is perfected, ultimate, immortal. The ultimate life is the full design.
Men die nightly in their beds, wringing the hands of ghostly confessors ... on account of the hideousness of mysteries which will not suffer themselves to be revealed.
The object, Truth, or the satisfaction of the intellect, and the object, Passion, or the excitement of the heart, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose.
In visions of the dark night I have dreamed of joy departed- But a waking dream of life and light Hath left me broken-hearted. Ah! what is not a dream by day To him whose eyes are cast On things around him with a ray Turned back upon the past? That holy dream- that holy dream, While all the world were chiding, Hath cheered me as a lovely beam A lonely spirit guiding. What though that light, thro' storm and night, So trembled from afar- What could there be more purely bright In Truth's day-star?
In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.