The highest intensity of style and movement which is the crest of the poetical impulse in its self-expression, the point at which the aesthetic, the vital, the intellectual elements of poetic speech pass into the spiritual, justifies itself perfectly when it is the body of a deep, high or wide spiritual vision into which the life-sense, the thought, the emotion, the appeal of beauty in the thing discovered and in its expression—for all great poetic utterance is discovery,—rise on the wave of the culminating poetic inspiration and pass into an ecstasy of sight. In the lesser poets these moments are rare and come like brilliant accidents, angels’ visits; in the greater they are more frequent outbursts; but in the greatest they abound because they arise from a constant faculty of poetic vision and poetic speech which has its lesser and its greater moments, but never entirely fails these supreme masters of the expressive word.

Vision is the characteristic power of the poet. The Kavi was in the idea of the ancients the seer and revealer of truth, and though we have wandered far enough from that ideal to demand from him only the pleasure of the ear and the amusement of the aesthetic faculty, still all great poetry instinctively preserves something of that higher turn of its own aim and significance. Poetry, in fact, must attempt to make us see, and since it is to the inner senses that it has to address itself,—for the ear is its only physical gate of entry and even there its real appeal is to an inner hearing,—and since its object is to make us live within ourselves what the poet has embodied in his verse, it is an inner sight which he opens in us, and this inner sight must have been intense in him before he can awaken it in us...   more »