File:How to educate the feelings or affections, and bring the dispositions, aspirations, and passions into harmony with sound intelligence and morality (1880) (14802061413).jpg

Identifier: howtoeducatefee00bray (find matches)
Title: How to educate the feelings or affections, and bring the dispositions, aspirations, and passions into harmony with sound intelligence and morality
Year: 1880 (1880s)
Authors: Bray, Charles, 1811-1884. (from old catalog) Sizer, Nelson
Subjects: Phrenology Emotions
Publisher: New York, S. R. Wells & co.
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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this feeling manifestsitself, of course, depends upon the other feelings andintellectual faculties with which it is allied ; as we havesaid before, it gives rise to the aesthetic part of our nat-ure, to poetic feeling, and to the love of the beautiful.We have heard those in whom the feeling was strong,say that it seemed to give to everything a double exist-ence—to that which would otherwise be mere materialthings with material uses, it endows with high andspiritual attributes. For instance, to a person withoutthis feeling, the Yenus de Medicis would be a mere stone gal, as the rustic called it, while to anotherdifferently endowed, it would be the ideal or perfectionof physical beauty. If we examine to ascertain inwhat real poetry consists, we shall find that it is the ad-dition of this spiritual attribute of beauty and perfec-tion to material existences. Thus poetry is principallymade by adjectives, characterizing and qualifying andidealizing and beautifying the noun. For example :
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FITZ-GREENE HALLECK,IDEALITY. PUTE ys% I Ideality. 129 * The breezy call of incense-breathing morn, The swallow twittering from the straw-built shed,The cocks shrill clarion^ and the echoing horn,No more shall rouse them from their lowly bed. And again: ^I have bedimmedThe noontide sun, called forth the mutinous winds.And twixt the green sea and the azui^e vaultSet roaring war. We know every one has his definition of poetry, andevery one his own idea of what is poetry. It is said tobe the language of all the feelings when highly excited,that is, when they approach to passion; but it may besaid rather to be the language of every feeling whenunder the influence of ideality, its mode of expressiondepending entirely upon the various combinations of theintellectual faculties. Ideality is not the same as im-agination or fancy, imagination being merely a modeof action—a degree of activity of the other faculties ;Ideality may excite imagination and fancy, but of itselfit is a feeling, senti

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