It is saying less than the truth to affirm that an excellent book (and the remark holds almost equally good of a Raphael as of a Milton) is like a well-chosen and well-tended fruit tree. Its fruits are not of one season only. With the due and natural intervals, we may recur to it year after year, and it will supply the same nourishment and the same gratification, if only we ourselves return to it with the same healthful appetite.
As it must not, so genius cannot be lawless; for it is even that constitutes its genius - the power of acting creatively under laws of its own origination.
It has been observed before that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's spirit.
How deep a wound to morals and social purity has that accursed article of the celibacy of the clergy been! Even the best and most enlightened men in Romanist countries attach a notion of impurity to the marriage of a clergyman. And can such a feeling be without its effect on the estimation of the wedded life in general? Impossible! and the morals of both sexes in Spain, Italy, France, and. prove it abundantly.
If men could learn from history, what lessons it might teach us. But passion and party blind our eyes, and the light which experience gives us is a lantern on the stern, which shines only on the waves behind us.
Architecture exhibits the greatest extent of the difference from nature which may exist in works of art. It involves all the powers of design, and is sculpture and painting inclusively. It shows the greatness of man, and should at the same time teach him humility.
The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.