Poetry, at all times, exercises two distinct functions: it may reveal, it may unveil to every eye, the ideal aspects of common thingsor it may actually add to the number of motives poetic and uncommon in themselves, by the imaginative creation of things that are ideal from their very birth.

Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us.

Great passions may give us a quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which comes naturally to many of us.

All art constantly aspires to the condition of music....In its ideal, consummate moments, the end is not distinct from the means, the form from the matter, the subject from the expression; they inhere in and completely saturate each other.

To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life . . . Not the fruit of experience, but experience itself, is the end . . . For art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake.

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.

No account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece.