All art does but consist in the removal of surplusage.

Product of a myriad various minds and contending tongues, compact of obscure and minute association, a language has its own abundant and often recondite laws, in the habitual and summary recognition of which scholarship consists.

A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to to be seen in them by the finest senses?

That the mere matter of a poem, for instance--its subject, its given incidents or situation; that the mere matter of a picture--the actual circumstances of an event, the actual topography of a landscape--should be nothing without the form, the spirit of the handling, that this form, this mode of handling, should become an end in itself, should penetrate every part of the matter;Mthis is what all art constantly strives after, and achieves in different degrees.

It is with a rush of home-sickness that the thought of death presents itself.... Such sentiment is the eternal stock of all religions, modified indeed by changes of time and place, but indestructible, because its root is so deep in the earth of man's nature. The breath of religious initiators passes over them; a few "rise up with wings as eagles" [Isaiah 40:31], but the broad level of religious life is not permanently changed. Religious progress, like all purely spiritual progress, is confined to a few.

Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.

That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.