THE CRITIC 197 �sentiments, which greet him in common with all man- kind he, I say, has yet failed to prove his divine title. There is still a something in the distance which he has been unable to attain. We have still a thirst un- quenchable, to allay which he has not shown us the crystal springs. This thirst belongs to the immor- tality of Man. It is at once a consequence and an in- dication of his perennial existence. It is the desire of the moth for the star. It is no mere appreciation of the Beauty before us but a wild effort to reach the Beauty above. Inspired by an ecstatic pre-science of the glories beyond the grave, we struggle, by multi- form combinations among the things and thoughts of Time, to attain a portion of that Loveliness whose very elements, perhaps, appertain to eternity alone. And thus when by Poetry or when by Music, the most entrancing of the Poetic moods we find ourselves melted into tears we weep then not as the Abbate Gravina supposes through excess of pleasure, but through a certain, petulant, impatient sorrow at our inability to grasp now, wholly, here on earth, at once and for ever, those divine and rapturous joys, of which through the poem, or through the music, we at- tain to but brief and indeterminate glimpses. �The struggle to apprehend the supernal Loveliness this struggle, on the part of souls fittingly consti- tuted has given to the world all that which it (the world) has ever been enabled at once to understand and to feel as poetic. �The Poetic Sentiment, of course, may develop itself in various modes in Painting, in Sculpture, in Archi- tecture, in the Dance very especially in Music and very peculiarly, and with a wide field, in the compo- ��� �
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