uaded also that they are not fantastic merely, but imply a substance somewhere, and will love to set forth the beauty of the visible image because it suggests the ineffably higher charm of the unseen original.
Dante's ideal of life, the enlightening and strengthening of that native instinct of the soul which leads it to strive backward toward its divine source, may sublimate the senses till each becomes a window for the light of truth and the splendor of God to shine through.
In him as in Calderon the perpetual presence of imagination not only glorifies the philosophy of life and the science of theology, but idealizes both in symbols of material beauty.
Though Dante's conception of the highest end of man was that he should climb through every phase of human experience to that transcendental and supersensual region where the true, the good, and the beautiful blend in the white light of God, yet the prism of his imagination forever resolved the ray into color again, and he loved to s
emory was playing him a trick here, misled by that instinct (it may almost be called) of consistency which leads men first to desire that their lives should have been without break or seam, and then to believe that they have been such.
The more distant ranges of perspective are apt to run together in retrospection.
How far could Wordsworth at fourteen have been acquainted with the poets of all ages and countries,— he who to his dying day could not endure to read Goethe and knew nothing of Calderon?
It seems to me rather that the earliest influence traceable in him is that of Goldsmith, and later of Cowper, and it is, perhaps, some slight indication of its having already begun that his first volume of Descriptive Sketches (1793) was put forth by Johnson, who was Cowper's publisher.
By and by the powerful impress of Burns is seen both in the topics of his verse and the form of his expression.
But whatever their ultimate effect upon his style, certain it is that his juvenile poems we