The Pilgrim of Eternity, whose fame Over his living head like heaven is bent, An early but enduring monument, Came, veiling all the lightnings of his song In sorrow.
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.
Mild is the slow necessity of death;
The tranquil spirit fails beneath its grasp,
Without a groan, almost without a fear,
Resigned in peace to the necessity;
Calm as a voyager to some distant land,
And full of wonder, full of hope as he.
No mistake is more to be deplored than the conception that a system of morals and religion should derive any portion of its authority either from the circumstance of its novelty or its antiquity, that it should be judged excellent, not because it is reasonable or true, but because no person has ever thought of it before, or because it has been thought of from the beginning of time.
Peace, peace! he is not dead, he doth not sleep - he hath awakened from the dream of life - 'Tis we, who lost in stormy visions, keep with phantoms an unprofitable strife.
The nature of a narrow and malevolent spirit is so essentially incompatible with happiness as to render it inaccessible to the influences of the benignant God.
One word is too often profaned For me to profane it, One feeling too falsely disdain'd For thee to disdain it. One hope too like dispair For prudence to smother, I can give not what men call love: But wilt thou accept not The worship the heart lifts above And heaven rejects not: The desire of the moth for the star, The devotion of something afar From the sphere of our sorrow?