Words in prose ought to express the intended meaning; if they attract attention to themselves, it is a fault; in the very best styles you read page after page without noticing the medium. Works of imagination should be written in very plain language; the more purely imaginative they are, the more necessary it is to be plain.
What! Did Sir W[alter] R[aleigh] believe that a male and female ounce (and, if so, why not two tigers and lions, etc?) would have produced, in a course of generations, a cat, or a cat a lion? This is Darwinizing with a vengeance.
Poetry, even that of the loftiest, and seemingly, that of the wildest odes, [has] a logic of its own as severe as that of science; and more difficult, because more subtle, more complex, and dependent on more and more fugitive causes. In the truly great poets... there is a reason assignable, not only for every word, but for the position of every word.
Above all things I entreat you to preserve your faith in Christ. It is my wealth in poverty, my joy in sorrow, my peace amid tumult. For all the evil I have committed, my gracious pardon; and for every effort, my exceeding great reward. I have found it to be so. I can smile with pity at the infidel whose vanity makes him dream that I should barter such a blessing for the few subtleties from the school of the cold-blooded sophists.
Creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flash'd at once upon the eye, as the sun paints in a camera obscura. (Describing his poetic ideal, 1817)
The Language of the Dream/Night is contrary to that of Waking/Day. It is a language of Images and Sensations, the various dialects of which are far less different from each other, than the various Day-Languages of Nations.
The Beautiful arises from the perceived harmony of an object, whether sight or sound, with the inborn and constitutive rules of the judgment and imagination: and it is always intuitive.