There are three classes into which all the women past seventy that ever I knew were to be divided: 1. That dear old soul; 2. That old woman; 3. That old witch.
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.
I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; - poetry = the best words in the best order.
How many of our virtues originate in the fear of Death & that while we flatter ourselves that we are melting in Christian Sensibility over the sorrows of our human Brethren and Sisteren, we are in fact, tho' perhaps unconsciously, moved at the prospect of our own End for who sincerely pities Sea-sickness, Toothache, or a fit of the Gout in a lusty Good-liver of 50?
The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.
As there is much beast and some devil in man, so is there some angel and some God in him. The beast and the devil may be conquered, but in this life never destroyed.