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“‘ [35] compose poetry.’ The greatest poet even cannot say it, for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the color of a flower which fades and changes as it is developed, and the conscious portions of our nature are unprophetic either of its approach or its departure.” 1 In the same way Schiller wrote to Korner that what impressed him when he sat down to write was usually some single impulse or harmonious tone, and not any clear notion of what he proposed writing. “These observations,” he says, “arise from an ‘Ode to Light’ with which I am now busy. I have as yet no idea what the poem will be, but a presentiment; and yet I can promise beforehand that it will be successful.” 2

So similar are the laws of all production in the imaginative arts that we need only to turn to a great musician's description of the birth of music to find something almost precisely parallel. In a letter from Mozart, lately condensed by Professor Royce3 : he writes: “My ”

1 Defense of poetry, Essays and Letters, Am. ed. i. 56.

2 Corresp. of Schiller and Korner, II. 173.

3 The Spirit of Modern Philosophy, p. 456.

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