"The true poet is the man of his time who is most alive, who feels, sees, and knows the most. In the measure of his life he is the greatest man of his age and country. His eye sees farther and more clearly; his heart beats more warmly and with a more universal sympathy; his thought runs deeper and with a swifter current, than is the case with other men. He is the oracle and guide, the inspirer and the friend, of those to whom he sings. He creates life under the ribs of dead tradition; he illumines the present with heart flames of beaconing truth, and he makes the future seem like home joys far off, but drawing ever nigher. The poet is the world's lover."

Emerson found the Greeks standing as close to nature and truth as himself ("Essay on History"):—

"The costly charm of the ancient tragedy, and indeed of all old literature, is, that the persons speak simply,—speak as persons who have great good sense without knowing it, before yet the reflective habit has become the predominant habit of the mind. Our admiration of the antique is not admiration of the old, but of the natural. The Greeks are not reflective, but perfect in their senses and in their health, with the finest physical organization in the world. Adults acted with the simplicity and grace of children."

In his "Defence of Poetry" Shelley says:—

"Poetry thus makes immortal all that is best and most beautiful in the world; it arrests the vanishing apparitions which haunt the interlunations of life, and, veiling them or in language or in form, sends them forth among mankind, bearing sweet news of kindred joy to those with whom their sisters abide—abide, because there is no portal of expression from the caverns of the spirit which they inhabit into the universe of things. Poetry redeems from decay the visitations of the divinity in man."

Carlyle, in his "Heroes and Hero-worship," portrays the deeper art and insight of the poet thus:—

"For my own part, I find considerable meaning in the old vulgar distinction of Poetry being metrical, having music in it, being a Song. Truly, if pressed to give a definition, one might say this as soon as anything else: If your delineation be authentically musical, musical not in word only, but in heart and substance, in all the thoughts and utterances of it, in the whole conception of it, then it will be poetical; if not, not. Musical: how much lies in that! A musical thought is one spoken by a mind that has penetrated into the inmost heart of the thing; detected the inmost mystery of it, namely the melody that lies hidden in it; the inward harmony of coherence which is its soul, whereby it exists, and has a right to be, here in this world. All inmost things, we may say, are melodious; naturally utter themselves in Song. The meaning of Song goes deep. Who is there that, in logical words, can express the effect music has upon us? A kind of inarticulate unfathomable speech, which leads us to the edge of the Infinite, and lets us for moments gaze into that!

"Nay all speech, even the commonest speech, has something of song in it: not a parish in the world but has its parish-accent;—the rhythm or tune to which the people there sing what they have to say! Accent is a kind of chanting; all men have accent of their own,—though they only notice that of others. Observe, too, how all passionate language does of itself become musical,—with a finer music than the mere accent; the speech of a man even in zealous anger becomes a chant, a song. All deep things are Song. It seems somehow the very central essence of us, Song; as if all the rest were but wrappages and hulls. The primal element of us; of us, and of all things. The Greeks fabled of Sphere-Harmonies: it was the feeling they had of the inner structure of Nature; that the soul of all her voices and utterances was perfect music. Poetry, therefore, we will call musical Thought. The Poet is he who thinks in that manner. At bottom, it turns still on power of intellect; it is a man's sincerity and depth of vision that makes him a Poet. See deep enough, and you see musically; the heart of Nature being everywhere music, if you can only reach it."

"Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakespeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakespeare. The thing he looks at reveals not this or that face of it, but its inmost heart, and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this, too, but seeing the thing sufficiently? The word that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakespeare's morality, his valor, candor, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world! No twisted, poor convex-concave mirror, reflecting all objects with its own convexities and concavities; a perfectly level mirror,—that is to say withal, if we will understand it, a man justly related to all things and men, a good man. It is truly a lordly spectacle how this great soul takes in all kinds of men and objects, a Falstaff, an Othello, a Juliet, a Coriolanus; sets them all forth to us in their round completeness; loving, just, the equal brother of all. 'Novum Organum,' and all the intellect you will find in Bacon, is of a quite secondary order; earthy, material, poor in comparison with this. Among modern men, one finds, in strictness, almost nothing of the same rank. Goethe alone, since the days of Shakespeare, reminds me of it. Of him, too, you say that he saw the object; you may say what he himself says of Shakespeare, 'His characters are like watches with dial-plates of transparent crystal; they show you the hour like others, and the inward mechanism also is all visible.'"

"Dante, for depth of sincerity, is like an antique Prophet, too; his words, like theirs, come from his very heart. One need not wonder if it were predicted that his Poem might be the most enduring thing our Europe has yet made; for nothing so endures as a truly spoken word. All cathedrals, pontificalities, brass and stone, and outer arrangement never so lasting, are brief in comparison to an unfathomable heart-song like this: one feels as if it might survive, still of importance to men, when these had all sunk into new irrecognizable combinations, and had ceased individually to be. Europe has made much; great cities, great empires, encyclopædias, creeds, bodies of opinion and practice: but it has made little of the class of Dante's Thought. Homer yet is, veritably present face to face with every open soul of us; and Greece, where is it? Desolate for thousands of years; away, vanished; a bewildered heap of stones and rubbish, the life and existence of it all gone. Like a dream; like the dust of King Agamemnon! Greece was; Greece, except in the words it spoke, is not."

J. C. Shairp, in his "On Poetic Interpretation of Nature" (p. 19), says:—

"The real nature and intrinsic truth of Poetry will be made more apparent, if we may turn aside for a moment to reflect on the essence of that state of mind which we call poetic, the genesis of that creation which we call Poetry. Whenever any object of sense, or spectacle of the outer world, any truth of reason, or event of past history, any fact of human experience, any moral or spiritual reality; whenever, in short, any fact or object which the sense, or the intellect, or the soul, or the spirit of man can apprehend, comes home to one so as to touch him to the quick, to pierce him with a more than usual