I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient.
I would define, in brief, the Poetry of words as the Rhythmical Creation of Beauty. Its sole arbiter is taste. With the intellect or with the conscience, it has only collateral relations. Unless incidentally, it has no concern whatever either with duty or with truth.
Finally on Sunday morning, October 7, 1849, "He became quiet and seemed to rest for a short time. Then, gently, moving his head," he said, "Lord help my poor soul." As he had lived so he died-in great misery and tragedy.
[E]very plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points tend to the development of the intention.
A fearful instance of the ill consequences attending upon irascibility - alive, with the qualifications of the dead - dead, with the propensities of the living - an anomaly on the face of the earth - being very calm, yet breathless.
The unity of effect or impression is a point of the greatest importance. It is clear, moreover, that this unity cannot be thoroughly preserved in productions whose perusal cannot be completed at one sitting.