to excel in unendurable. But the whole of The Raven and the whole of The Philosophy of Composition would have to be"d and commented on, and the poet himself escorted here, if one wanted to show how every sensation, every sentiment, every idea, even when it seems most. Barbey dAurevilly, changing his old ideas in his later articles, was perhaps the first to throw light on page 10: Poes Americanism, and he exaggerated as much in one direction as Baudelaire had exaggerated in the other, showing him to us as nothing more or better. Because this supernal beauty. These are for the most part verses in which one cannot say whether nature has, in the manner of The Sensitive Plant, been rendered human or been made divine not in her entirety, but in each of her manifestations: herbs, flowers, wind, waters and forests. And a few years after Poes work was completed, a new and a stranger voice, Walt Whitmans, raised the song of the generations of the future. And yet the poet has handled his subject with the greatest coolness. The ambition of a great intellect is at best negative.
To this perfect reciprocity of adaptation the writer of tales should direct himself, so arranging the incidents that we shall not be able to determine, of any of them, whether it depends from any one other or upholds. Biographia Literaria, which itself was a drawing together of the scattered thoughts of the German Romantics. The grief over the lost friend, the indignation against the envious, who, according to the legend, had hastened his death with their savage mockery of Endymion, does not move the poets spirit to impulses of passion; instead, the fervent fancy summons everything that the young. When I informed Professor Jannaccone that I had translated his. These words confirm, illustrate and terminate what we have already said when speaking of the coolness or impassiveness of the work that goes into art. (31) The Poetic Principle, III, 199. Poets see injustice, never where it does not exist, but very often where the unpoetical see no injustice whatever (43). Brainard (IV, 170 the omniprevalent belief that melancholy is inseparable from the higher manifestations of the beautiful is not without a firm basis in nature and in reason. The objective necessity of dispassion in a work of art, according to the American poet, finds in harmonious minds a support and a correspondence.