Margaret’s Song

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  There was a king in Thule,  True even to the grave;  To whom his dying mistress  A golden beaker gave.  At every feast he drained it,  Naught was to him so dear,  And often as he drained it,  Gush’d from his eyes the tear.  When death came, unrepining  His cities o’er he told;  All to his heir resigning,  Except his cup of gold.  With many a knightly vassal  At a royal feast sat he,  In yon proud hall ancestral,  In his castle o’er the sea.  Up stood the jovial monarch,  And quaff’d his last life’s glow,  Then hurled the hallow’d goblet  Into the flood below.  He saw it splashing, drinking,  And plunging in the sea;  His eyes meanwhile were sinking,  And never again drank he. “Margaret’s Song” by Johann Wolfgang von Goethe (1749–1832) in “Faust. Part I.”

On Human Life and Poetry

On Human Life by Italian politician, journalist and activist, Guiseppe Mazzini (1805-1872), “Byron and Goethe” in The Harvard Classics. 


“There is no absolute type on earth: the absolute exists in the Divine Idea alone; the gradual comprehension of which man is destined to attain; although its complete realization is impossible on earth; earthly life being but one stage of the eternal evolution of life, manifested in thought and action; strengthened by all the achievements of the past, and advancing from age to ages towards a less imperfect expression of that idea. Our earthly life is one phase of the eternal aspiration of the soul towards progress, which is our law; ascending in increasing power and purity from the finite towards the infinite; from the real towards the ideal; from that which is, towards that which is to come. In the immense storehouse of the past evolutions of life constituted by universal tradition, and in the prophetic instinct brooding in the depths of the human soul, does poetry seek inspiration. It changes with the times, for it is their expression; it is transformed with society, for—consciously or unconsciously—it sings the lay of Humanity; although, according to the individual bias or circumstances of the singer, it assumes the hues of the present, or of the future in course of elaboration, and foreseen by the inspiration of genius. It sings now a dirge and now a cradle song; it initiates or sums up.”

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