All That We See Or Seem Is

The Object, Truth, Or The Satisfaction Of The Intellect, And The Object, Passion, Or The Excitement Of The Heart, Are, Although Attainable, To A Certain Extent, In Poetry, Far More Readily Attainable In Prose.

The Merchant, To Secure His Treasure The Merchant, To Secure His Treasure, Conveys It In A Borrowed Name: Euphelia Serves To Grace My Measure, But Cloe Is My Real Flame. My Softest Verse, My Darling Lyre Upon Euphelia's Toilet Lay - When Cloe Noted Her Desire That I Should Sing, That I Should Play. My Lyre I Tune, My Voice I Raise, But With My Numbers Mix My Sighs; And Whilst I Sing Euphelia's Praise, I Fix My Soul On Cloe's Eyes. Fair Cloe Blushed; Euphelia Frowned: I Sung, And Gazed; I Played, And Trembled: And Venus To The Loves Around Remarked How Ill We All Dissembled.

Odors Have An Altogether Peculiar Force, In Affecting Us Through Association; A Force Differing Essentially From That Of Objects Addressing The Touch, The Taste, The Sight Or The Hearing.

The True Genius Shudders At Incompleteness - And Usually Prefers Silence To Saying Something Which Is Not Everything It Should Be.

It Is Clear That A Poem May Be Improperly Brief. Undue Brevity Degenerates Into Mere Epigrammatism. A Very Short Poem, While Now And Then Producing A Brilliant Or Vivid, Never Produces A Profound Or Enduring, Effect. There Must Be The Steady Pressing Down Of The Stamp Upon The Wax.