Part 2 (1/2)

It is of course possible to use a distinction of 'pure' and 'mixed' in another sense Poetry, whatever its kind, would be pure as far as it preserved the unity of content and form; mixed, so far as it failed to do so--in other words, failed to be poetry and was partly prosaic

NOTE E

It is possible therefore that the poerowth, hly with the poem as it exists in the memories of various readers A reader who is fond of the poem and often thinks of it, but reaps with his oords,like the poeain who retain only what they would call the 'idea' of the poeun froet all the words, and will not profess to re,' but believe that they possess the 'spirit' of the poem And what they possess may have, I think, an immense value The poem, of course, it is not; but itor eerm of the poem This is, in one sense, quite definite: it would not be the germ of a decidedly different poem: but in another sense it is indefinite, co' than an idea

Such correspondences, naturally, h, if only because the readers have been at one tirown poem

NOTE F

I should be sorry if what is said here and elsewhere were taken to imply depreciation of all atteards poetry, such atte of a poem, may doAnd, although the atte, I believe it may have a sioes without saying, and whether they are ever of use to musicians or the musically educated I do not know But I see no reason why an exceedingly competent person should not try to indicate the ee, or the changes of feeling within it, or even, very roughly, the 'idea' he h he need not imply that the composer had any of this before his mind) And I believe that such indications, however inadequate they reatly help the uneducated lover of music to hear more truly the music itself

NOTE G

This new question has 'quite another sense' than that of the question, What is theor content expressed by the form of a poem? The new question asks, What is it that the _poe to express? This 'beyond' is beyond the content as well as the form

Of course, I should add, it is not _merely_ beyond them or outside of theest' it They are a partial manifestation of it, and point beyond themselves to it, both because they _are_ a manifestation and because this is partial

The sa is true, not only (as is reion and philosophy, but also of what is commonly called reality This reality is a manifestation of a different order from poetry, and in certain important respects a much more imperfect manifestation Hence, as was pointed out (pp 6, 7, note B), poetry is not a copy of it, but in dealing with it idealises it, and in doing so produces in certain respects a fuller manifestation On the other hand, that imperfect 'reality' has for us a character in which poetry is deficient,--the character in virtue of which we call it 'reality' It is, we feel, thrust upon us, not made by us or by any other man And in this respect it seems more akin than poetry to that 'beyond,' or absolute, or perfection, which ant, which partially expresses itself in both, and which could not be perfection and could not satisfy us if it were not real (though it cannot be real in the same sense as that iround of the requireh no copy of 'reality,' should not be mere 'fancy,'

but should refer to, and interpret, that 'reality' For that reality, however imperfectly it reveals perfection, is at least no mere fancy

(Not that theof perfection)

The lines quoted on p 26 are fro 'Is it that in sohter sphere'

FOOTNOTES:

[1] The lecture, as printed in 1901, was preceded by the following note: ”This Lecture is printed almost as it was delivered I aes, difficult subjects are treated in a manner far too summary, but they require an exposition so full that it would destroy the original forht expansion would do little to provide against es have now been made, some notes have been added, and some of the introductory remarks omitted

[2] Note A

[3] Note B

[4] What is here called 'substance' is what people generally mean when they use the word 'subject' and insist on the value of the subject I ae which I have adopted for the sake of clearness It does notas we and others knoe mean

(I use 'substance' and 'content' indifferently)

[5] These reood, _mutatis mutandis_, if by 'substance' is understood the 'h perhaps in one instance out of five thousand this may be found in so many words in the poem

[6] On the other hand, the absence, or worse than absence, of style, in this sense, is a serious raph is criticized in Note D

[9]: Note E