Poems by Samuel Taylor Coleridge and William Wordsworth. William Wordsworth

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СКАЧАТЬ sight I ever beheld. Oh, that it could have appeared the same in England, at Grasmere!

      NEFAS EST AB HOSTE DOCERI

      In the Jacobinism of anti-jacobins, note the dreariest feature of Jacobins, a contempt for the institutions of our ancestors and of past wisdom, which has generated Cobbetts and contempt of the liberty of the press and of liberty itself. Men are not wholly unmodified by the opinion of their fellow-men, even when they happen to be enemies or (still worse) of the opposite faction.

      THE MANY AND THE ONE

      I saw in early youth, as in a dream, the birth of the planets; and my eyes beheld as one what the understanding afterwards divided into (1) the origin of the masses, (2) the origin of their motions, and (3) the site or position of their circles and ellipses. All the deviations, too, were seen as one intuition of one the self-same necessity, and this necessity was a law of spirit, and all was spirit. And in matter all beheld the past activity of others or their own—and this reflection, this echo is matter—its only essence, if essence it be. And of this, too, I saw the necessity and understood it, but I understood not how infinite multitude and manifoldness could be one; only I saw and understood that it was yet more out of my power to comprehend how it could be otherwise—and in this unity I worshipped in the depth of knowledge that passes all understanding the Being of all things—and in Being their sole goodness—and I saw that God is the One, the Good—possesses it not, but is it.

      THE WINDMILL AND ITS SHADOW

      The visibility of motion at a great distance is increased by all that increases the the distinct visibility of the moving object. This Saturday, August 3, 1804, in the room immediately under the tower in St. Antonio, as I was musing on the difference, whether ultimate or only of degree, between auffassen and erkennen (an idea received and an idea acquired) I saw on the top of the distant hills a shadow on the sunny ground moving very fast and wave-like, yet always in the same place, which I should have attributed to the windmill close by, but the windmill (which I saw distinctly too) appeared at rest. On steady gazing, however, (and most plainly with my spy-glass) I found that it was not at rest, but that this was its shadow. The windmill itself was white in the sunshine, and there were sunny white clouds at its back, the shadow black on the white ground.

      SYRACUSE Thursday night at the Opera, September 27, 1804

      In reflecting on the cause of the "meeting soul" in music, the seeming recognisance etc., etc., the whole explanation of memory as in the nature of accord struck upon me; accord produces a phantom of memory, because memory is always in accord.

      Oct. 5, 1804

      Philosophy to a few, religion with many, is the friend of poetry, as producing the two conditions of pleasure arising from poetry, namely tranquillity and the attachment of the affections to generalisations. God, soul, Heaven, the Gospel miracles, etc., are a sort of poetry compared with Lombard Street and Change Alley speculations.

      A SERIOUS MEMORANDUM Syracuse, Saturday, Oct. 5, 1804

      In company, indeed, with all except a very chosen few, never dissent from anyone as to the merits of another, especially in your own supposed department, but content yourself with praising, in your turn; the really good praises of the unworthy are felt by a good man, and man of genius as detractions from the worthy, and robberies—so the flashy moderns seem to rob the ancients of the honours due to them, and Bacon and Harrington are not read because Hume and Condillac are. This is an evil; but oppose it, if at all, in books in which you can evolve the whole of your reasons and feeling, not in conversation when it will be inevitably attributed to envy. Besides, they who praise the unworthy must be the injudicious: and the eulogies of critics without taste or judgment are the natural pay of authors without feeling or genius—and why rob them? Sint unicuique sua præmia. Coleridge! Coleridge! will you never learn to appropriate your conversation to your company! Is it not desecration, indelicacy, and a proof of great weakness and even vanity to talk to, etc. etc., as if you [were talking to] Wordsworth or Sir G. Beaumont?

      "CAST NOT YOUR PEARLS BEFORE SWINE"

       Oct. 11, Syracuse, Lecky's, midnight

      O young man, who hast seen, felt and known the truth, to whom reality is a phantom and virtue and mind the sole actual and permanent being, do not degrade the truth in thee by disputing. Avoid it! do not by any persuasion be tempted to it! Surely not by vanity or the weakness of the pleasure of communicating thy thoughts and awaking sympathy, but not even by the always mixed hope of producing conviction. This is not the mode, this is not the time, not the place. [Truth will be better served] by modestly and most truly saying, "Your arguments are all consequent, if the foundation be admitted. I do not admit the foundation. But this will be a business for moments of thought, for a Sabbath-day of your existence. Then, perhaps, a voice from within will say to you, better, because [in a manner] more adapted to you, all I can say. But if I felt this to be that day or that moment, a sacred sympathy would at once compel and inspire me to the task of uttering the very truth. Till then I am right willing to bear the character of a mystic, a visionary, or self-important juggler, who nods his head and says, 'I could if I would.' But I cannot, I may not, bear the reproach of profaning the truth which is my life in moments when all passions heterogeneous to it are eclipsing it to the exclusion of its dimmest ray. I might lose my tranquillity, and in acquiring the passion of proselytism lose the sense of conviction. I might become positive! Now I am certain! I might have the heat and fermentation, now I have the warmth of life."

      THE YEARNING OF THE FINITE FOR THE INFINITE: Oct. 13, 1804, Saturday, Syracuse

      Each man having a spark (to use the old metaphor) of the Divinity, yet a whole fire-grate of humanity—each, therefore, will legislate for the whole, and spite of the De gustibus non est disputandum, even in trifles—and, till corrected by experience, at least, in this endless struggle of presumption, really occasioned by the ever-working spark of the Universal, in the disappointments and baffled attempts of each, all are disposed to [admit] the jus extrinsecum of Spinoza, and recognise that reason as the highest which may not be understood as the best, but of which the concrete possession is felt to be the strongest. Then come society, habit, education, misery, intrigue, oppression, then revolution, and the circle begins anew. Each man will universalise his notions, and, yet, each is variously finite. To reconcile, therefore, is truly the work of the inspired! This is the true Atonement—that is, to reconcile the struggles of the infinitely various finite with the permanent.

      A MEASURE IN SELF-REPROOF

      Do not be too much discouraged, if any virtue should be mixed, in your consciousness, with affectation and imperfect sincerity, and some vanity. Disapprove of this, and continue the practice of the good feeling, even though mixed, and it will gradually purify itself. Probatum est. Disapprove, be ashamed of the thought, of its always continuing thus, but do not harshly quarrel with your present self, for all virtue subsists in and by pleasure. S. T. C. Sunday evening, October 14, 1804.

      But a great deal of this is constitutional. That constitution which predisposes to certain virtues, the Δωρον Θεων, has this τεμενος Νεμεσεως in it. It is the dregs of sympathy, and while we are weak and dependent on each other, and each is forced to think often for himself, sympathy will have its dregs, and the strongest, who have least of these, have the dregs of other virtues to strain off.

      THE OPERA

      All the objections to the opera are equally applicable to tragedy and comedy without music, and all proceed on the false principle that theatrical representations are copies of nature, whereas they are imitations.

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