Poetry
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5.Poetry and moral instruction
5a.The poet as teacher surpassing philosopher and historian
See also: Philosophy 7b · Education 7c · History 1b · Virtue and Vice 11c
Confucius, The Sayings of ConfuciusVol. 44
- p. 6–7Poem on cutting and polishing is applied to moral self-cultivation; the songs are free from evil thought.read · scan
- p. 10Tzu-hsia asks the meaning of a verse about a beauty.read · scan
- p. 10Verse read as saying courtesy follows groundwork; Master praises the disciple's grasp for discussing poetry.read · scan
- p. 11–12The Osprey is glad but not wanton, sad but not morbid.read · scan
- p. 22He liked to talk of poetry, history and courtesy.read · scan
- p. 25–26Poetry rouses, courtesy upholds, music crowns.read · scan
- p. 56–57Without studying poetry one has no hold on words; a father urges his son to study it.read · scan
- p. 59Poetry ripens you, teaches insight, fellow-feeling, forbearance, duty to father and king, and names of creatures; the Chou-nan is essential.read · scan
Geoffrey Chaucer, The Prologue to the Canterbury Tales; The Nun's Priest's TaleVol. 40
- p. 31The Host sets a storytelling contest: each pilgrim tells four tales, and the best in sentence and solace wins a supper.read · scan
- p. 50–51Tale's moral defended: scripture says all writing is for doctrine, so take the moral of the fable.read · scan
Miguel de Cervantes, The History of Don Quixote of the Mancha, Part IVol. 14
- p. 211Homer and Virgil portray Ulysses and Aeneas not as they were but as they should be, as examples of virtue.read · scan
Edmund Spenser, Prefatory Letter to Sir Walter Raleigh on the Faerie QueeneVol. 39
- p. 61Spenser explains his allegorical epic and defends teaching virtue by example in historical fiction rather than plain precepts, following Homer, Virgil, Ariosto and Tasso.read · scan
Sir Philip Sidney, The Defense of PoesyVol. 27
- p. 13Sidney proposes to show the poet worthy of primacy among the sciences serving the master-knowledge.read · scan
- p. 15–16The poet is proposed as moderator who surpasses both philosopher and historian in teaching men's manners.read · scan
- p. 16The poet joins general precept with a particular example, giving a speaking picture that moves the mind beyond the philosopher's bare description.read · scan
- p. 17–18Poetic fiction teaches more forcefully than philosophic precept, showing virtues, vices and passions vividly on stage and in epic.read · scan
- p. 18–19The poet is the popular philosopher, teaching through tales and allegories like Aesop's and Christ's parables.read · scan
- p. 19The poet frames examples as they should be, feigned Cyrus and Aeneas offering perfect patterns to follow or shun.read · scan
- p. 20A feigned example teaches as well as a true one, and the poet can make the historian's matter his own, adding delight.read · scan
- p. 21Poetry sets virtue in her best colors and punishes vice, unlike history, which shows the good suffering and tyrants prospering.read · scan
- p. 22The poet surpasses historian and philosopher by moving men to virtue, which is higher than teaching.read · scan
- p. 23–24The poet, monarch of human sciences, entices men to virtue with delightful tales and music, sweetening lessons like medicine.read · scan
- p. 24Poetry's tales delight even the vicious and work strange effects; Menenius Agrippa's fable of the belly reconciled Rome.read · scan
- p. 25Nathan's feigned tale moved David, showing the poet draws the mind more effectively than any other art.read · scan
Francis Bacon, Essays, Civil and MoralVol. 3
- p. 15–17Seneca's transcendent saying suits poesy; the Hercules and Prometheus fable is read as an image of Christian resolution.read · scan
John Milton, AreopagiticaVol. 3
- p. 201Milton praises Spenser as a better teacher than Scotus or Aquinas.read · scan
John Milton, Paradise RegainedVol. 4
- p. 395Athenian lyric, Homer, and tragedians teach moral prudence, describing fate, chance and passion.read · scan
John Bunyan, The Pilgrim's ProgressVol. 15
- p. 5Justifies his dialogue and figurative method by precedent and Scripture, and promises the book's profit to readers.read · scan
- p. 5–11Invites the reader to enjoy the book's fable, riddles and dream-like fancies that carry sound gospel teaching.read · scan
- p. 166–167The author reflects on his figurative craft and asks for the gold within the ore of his verse.read · scan
Alexander Pope, Solitude; On a Certain Lady at Court; Essay on ManVol. 40
- p. 413–415The essay is a didactic poem, its couplets summing up man's paradoxical condition.read · scan
Edmund Burke, Reflections on the Revolution in FranceVol. 24
- p. 217The theatre is a better school of moral sentiment than churches; an Athenian audience would reject the tyrant's maxims that the stage rejects.read · scan
Robert Burns, Poems and SongsVol. 6
- p. 540–543The poet's 'moralising Muse' offers a verse gift, hoping to improve joys of sense and taste.read · scan
William Wordsworth, Prefaces to Various Volumes of PoemsVol. 39
- p. 290Wordsworth hopes to produce genuine poetry that pleases permanently and has moral relations, though readers resist departing from the pleasures they are used to.read · scan
Leigh Hunt, Deaths of Little ChildrenVol. 27
- p. 286–287Writers of the author's intentions are said not to quarrel with all pain, only to soften it.read · scan
John Keats, PoemsVol. 41
- p. 871–875Bards of Passion and Mirth live on in heaven and earth, teaching mortals wisdom through their songs; poets' Elysium and the Mermaid Tavern.read · scan
Ralph Waldo Emerson, CompensationVol. 5
- p. 91–92Fable, literature and proverbs unawares express the moral facts of life; the Greeks made amends through myth.read · scan
- p. 92Myths and fables, including Achilles, Siegfried and Tithonus, always carry a moral; even wild poesy testifies to the fatal law.read · scan
Ralph Waldo Emerson, CharacterVol. 5
- p. 195–196Poetry is joyful and strong as it draws inspiration from this moral force.read · scan
Ralph Waldo Emerson, PoliticsVol. 5
- p. 239Opening verses depict the perfect state where Muses and Virtues meet.read · scan
Robert Browning, PoemsVol. 42
- p. 1083–1084Addresses him as lyric Apollo; refers to bard and sage as studied models of man.read · scan
5b.The heresy of the didactic
Friedrich von Schiller, Letters upon the Aesthetic Education of ManVol. 32
- p. 271Coarse readers enjoy serious poems like sermons and playful poems like intoxicating drink, missing the aesthetic.read · scan
Percy Bysshe Shelley, A Defence of PoetryVol. 27
- p. 337–338Poets who affect a moral aim lose power; Athenian poetry flourished with the other arts and made its epoch memorable.read · scan
- p. 341Poetry cannot be made subservient to moralizing; drama decays when imagination is lost, as in the Restoration.read · scan
- p. 348–349Milton's genius shown in neglecting direct moral purpose; ranking of Homer, Dante, Milton as true epic poets.read · scan
Ralph Waldo Emerson, English TraitsVol. 5
- p. 325–326Wordsworth recites his poems to Emerson, discusses which are best and prefers those combining truth with affection over didactic verse.read · scan
Edgar Allan Poe, The Poetic PrincipleVol. 28
- p. 374–375Poe attacks the 'heresy of the Didactic' and defends the poem written solely for its own sake as most noble.read · scan
- p. 375–376Poetic mode differs radically from truthful exposition; song requires what Truth rejects.read · scan
Walt Whitman, Preface to Leaves of GrassVol. 39
- p. 395The greatest poet brings events and passions to bear on individual character without moralizing, joining past, present and future.read · scan
Walter Bagehot, John MiltonVol. 28
- p. 194–195Bagehot defends the mathematician's remark that Paradise Lost proves nothing: Milton sought to prove something on human destiny; epic criticized by aim.read · scan
- p. 205A positive moral edict is unfit for literary art; Milton states the puzzle as if it were no difficulty.read · scan
5c.Poetry and religion
See also: Religion 6b · Courage 5c
The Book of PsalmsVol. 44
- p. 211–212He bids psaltery and harp awake to sing praises.read · scan
- p. 246–247Song and music are summoned in praise, with harp, timbrel and trumpet.read · scan
- p. 260–261Praise sung with instruments of ten strings, harp and psaltery.read · scan
- p. 283–285Psalmist calls on psaltery and harp to awake for song.read · scan
- p. 330–332Praise is sung as a new song with instruments; the psalm itself is a hymn of praise.read · scan
Buddhist WritingsVol. 45
- p. 778–779Her five-stanza utterance, sung as a refrain of fulfilled prayer, is a devotional song.read · scan
Cleanthes, The Hymn of CleanthesVol. 2
- p. 186–187The song is offered as hymn of praise to God.read · scan
The Bhagavad-Gita; or, Song CelestialVol. 45
- p. 874The narrator frames the dialogue as a writ song, saying no tongue can reach his marvel.read · scan
Luke, The Gospel According to LukeVol. 44
- p. 355–356Mary's song is a lyric canticle of praise.read · scan
Saint Augustine, The Confessions of St. AugustineVol. 7
- p. 155–156Ambrose's evening hymn quoted as true verses that comfort sorrow.read · scan
Hymns of the Christian Church: Latin HymnsVol. 45
- p. 547–549Sung praise and eloquence as gifts of the Spirit; hymn as sanctifying song.read · scan
- p. 552–554Latin sequences on judgment and the Passion as liturgical song.read · scan
Dante Alighieri, PurgatoryVol. 20
- p. 234Virgil led Statius to poetry and to God; his fourth Eclogue's prophecy of a renewed world guided him.read · scan
Dante Alighieri, ParadiseVol. 20
- p. 370David the psalmist knows the reward of his inspired strains; songs and music of the blessed are described.read · scan
Thomas à Kempis, The Imitation of ChristVol. 7
- p. 337–338David fashioned instruments, composed Psalms and played the harp inspired by the Holy Ghost, teaching the people to praise.read · scan
Izaak Walton, The Life of Dr. John DonneVol. 15
- p. 351–352Donne's youthful witty verse, later regretted, contrasted with his holy sonnets and hymns; church music heightens the hymn's power.read · scan
- p. 353–355Herbert's Temple praised for comforting souls; Donne and Herbert exchange verses on the seal.read · scan
- p. 355–356Herbert's reply verses and Donne's deathbed hymn; sacred song justified by Prudentius, David and Hezekiah.read · scan
Izaak Walton, The Life of Mr. George HerbertVol. 15
- p. 377–378Jerome turned poet in old age to write Paula's epitaph; Donne sends holy hymns and sonnets.read · scan
- p. 378Herbert reproves love-poems to Venus and resolves his poetic abilities be consecrated to God's glory; Donne's sonnet accompanies hymns.read · scan
- p. 379–380Herbert asks why verse is spent on love and Venus rather than God, resolving to devote his sonnets to divine praise.read · scan
- p. 382Bacon dedicates his verse translation of the Psalms to Herbert as best judge of divine poetry.read · scan
- p. 396Herbert's sacred poems 'The Odour' and 'The Pearl' express his joy in serving Jesus and renouncing learning, honour, court and pleasure.read · scan
- p. 413–414The Temple, Herbert's sacred poems, are offered as a picture of spiritual conflicts; Farrer praises a harmony of holy passions; licensing and sales noted.read · scan
- p. 414–415The Vice-Chancellor licenses the book, calling Herbert a divine poet but not an inspired prophet.read · scan
- p. 416He plays his instrument and sings his own verse on Sundays and heaven's open door.read · scan
Hymns of the Christian Church: Hymns Based on PsalmsVol. 45
- p. 535–537Hymns of praise sung, with the singer vowing to sing the Lord's praise.read · scan
Sir Thomas Browne, Religio MediciVol. 3
- p. 264–265A verse prayer asking God to teach his reason to read His works, and to hover humbly like an industrious fly.read · scan
- p. 283–284Browne's devotional verse uses sun, solstice and winter imagery to express the heart's frozen absence and revival by divine light.read · scan
Pierre Corneille, PolyeucteVol. 26
- p. 105–109Polyeucte's lyric stanzas express his devotion in song.read · scan
John Milton, Poems Written During the Civil War and the Protectorate, 1642-1658Vol. 4
- p. 83–84Poet laments his one talent lodged useless with him, wishing to serve his Maker with it.read · scan
John Milton, Paradise LostVol. 4
- p. 136Heaven's harps and hymns are described as melodious concord of sacred song.read · scan
- p. 136Milton resolves his song shall never forget the Son's praise or disjoin it from the Father's.read · scan
John Milton, Paradise RegainedVol. 4
- p. 395Hebrew psalms and hymns surpass Greek poetry, which imitates them while singing the vices of the gods.read · scan
John Bunyan, The Pilgrim's ProgressVol. 15
- p. 40–41Christian's thankful verse closes the scene.read · scan
- p. 41–42Christian sings a rhymed song of gratitude.read · scan
- p. 44–45Verse expresses his resolve.read · scan
- p. 45–46Rhymed moral on those who set out wrongly.read · scan
- p. 76–77He breaks into a verse on the manifold trials of pilgrims.read · scan
- p. 88–89Bunyan's rhyme on Talkative waning like the moon when heart-work is mentioned.read · scan
- p. 173–175The author prays his riddling book may bless its readers and suit their fancy.read · scan
- p. 189–190Mercy's prayer is given as a verse.read · scan
- p. 190–191Prayer given in rhymed verse.read · scan
- p. 211–212The pilgrims' verse summarises the lessons learned.read · scan
- p. 218–219Mercy turns her feelings into a song against opposers of holiness.read · scan
- p. 239–240Verses of the birds' song echo psalms of praise.read · scan
- p. 300–301Bunyan inserts a verse song celebrating the pilgrim's valour.read · scan
- p. 308–309Pilgrims sing verse on the many dangers of the way.read · scan
Jonathan Swift, A Letter of Advice to a Young PoetVol. 27
- p. 106Modern poets, like Lucretius, rise on religion as a pedestal; liber spiritus is misread as freedom from belief.read · scan
- p. 106–107Poets should master the Scriptures as a fund of images, allusions and language, on which playwrights depend for wit.read · scan
Christopher Smart, PoemsVol. 41
- p. 484–486David's harp, song and sublime invention praised as praise of God.read · scan
Edmund Burke, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and BeautifulVol. 24
- p. 56–59Horace, Lucretius and the psalmists are cited as poets who join awe and dread to the vision of nature and divinity.read · scan
Robert Burns, Poems and SongsVol. 6
- p. 137–139Sacred songs compared with Italian trills; the sacred lyre of the seers.read · scan
William Wordsworth, Essay Supplementary to PrefaceVol. 39
- p. 313Poetry is most true to its divine origin when it breathes the spirit of religion, yet religious readers are beset with misjudgements.read · scan
- p. 314Poetry and religion share an affinity: both need sensuous incarnation, and religious poetry is most subject to distortion.read · scan
Percy Bysshe Shelley, A Defence of PoetryVol. 27
- p. 344–345Poets of the Christian and chivalric systems created forms of opinion and action that saved the world from anarchy; the biblical writers were poets.read · scan
Thomas Carlyle, Inaugural Address at EdinburghVol. 25
- p. 387–388Carlyle praises Goethe's verse as a modern psalm, road-melody of mankind.read · scan
John Keats, PoemsVol. 41
- p. 881–882The poet vows to be Psyche's priest and choir, building a fane in his mind of branched thoughts and fancy.read · scan
George Long, The Philosophy of AntoninusVol. 2
- p. 329–330Cleanthes's hymn is quoted, and St. Paul cited Greek poets for his doctrine.read · scan
Ralph Waldo Emerson, An Address Delivered before the Senior Class in Divinity CollegeVol. 5
- p. 31–32Divine bards are friends of virtue and intellect; their music sings of the true God in all ages.read · scan
- p. 32–33The man enamored of the soul's excellence becomes priest or poet.read · scan
- p. 35Poetic truth lies hidden in commonplaces of prayer and sermon, born of some soul's moment of piety.read · scan
Ralph Waldo Emerson, WorshipVol. 5
- p. 276–277Early English poets' religion is both devout and blasphemous, as in Chaucer's picture of Dido.read · scan
John Greenleaf Whittier, PoemsVol. 42
- p. 1338–1340Personal devotional lyric voicing the poet's own faith.read · scan
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