Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have.

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.

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.

Experience, already reduced to a group of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without.

To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought.

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants, and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has molded the changing lineaments, and tinged the eyelids and the hands.

Beauty, like all other qualities presented to human experience, is relative; and the definition of it becomes unmeaning and useless in proportion to its abstractness. To define beauty not in the most abstract, but in the most concrete terms possible, not to find a universal formula for it, but the formula which expresses most adequately this or that special manifestation of it, is the aim of the true student of aesthetics.