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"On Poetry In General William Hazlitt (1818)
- Nathaniel Walker
- 2 years ago
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1 "On Poetry In General William Hazlitt (1818) The best general notion which I can give of poetry is, that it is the natural impression of any object or event, by its vividness exciting an involuntary movement of imagination and passion, and producing, by sympathy, a certain modulation of the voice, or sounds, expressing it. In treating of poetry, I shall speak first of the subject-matter of it, next of the forms of expression to which it gives birth, and afterwards of its connexion with harmony of sound. Poetry is the language of the imagination and the passions. It relates to whatever gives immediate pleasure or pain to the human mind. It comes home to the bosoms and businesses of men; for nothing but what so comes home to them in the most general and intelligible shape, can be a subject for poetry. Poetry is the universal language which the heart holds with nature and itself. He who has a contempt for poetry, cannot have much respect for himself, or for anything else. It is not a mere frivolous accomplishment (as some persons have been led to imagine), the trifling amusement of a few idle readers or leisure hours -- it has been the study and delight of mankind in all ages. Many people suppose that poetry is something to be found only in books, contained in lines of ten syllables, with like endings: but wherever there is a sense of beauty, or power, or harmony, as in the motion of a wave of the sea, in the growth of a flower that 'spreads its sweet leaves to the air, and dedicates its beauty to the sun', -- there is poetry, in its birth. If history is a grave study, poetry may be said to be a graver: its materials lie deeper, and are spread wider. History treats, for the most part, of the cumbrous and unwieldy masses of things, the empty cases in which the affairs of the world are packed, under the heads of intrigue or war, in different states, and from century to century: but there is no thought or feeling that can have entered into the mind of man, which he would be eager to communicate to others, or which they would listen to with delight, that is not a fit subject for poetry. It is not a branch of authorship: it is 'the stuff of which our life is made'. The rest is 'mere oblivion', a dead letter: for all that is worth remembering in life, is the poetry of it. Fear is poetry, hope is poetry, love is poetry, hatred is poetry; contempt, jealousy, remorse, admiration, wonder, pity, despair, or madness, are all poetry. Poetry is that fine particle within us, that expands, rarefies, refines, raises our whole being: without it 'man's life is poor as beast's'. Man is a poetical animal: and those of us who do not study the principles of poetry, act upon them all our lives, like Moliere's Bourgeois Gentilhomme, who had always spoken prose without knowing it. The child is a poet in fact, when he first plays at hideand-seek, or repeats the story of Jack the Giant-killer; the shepherd-boy is a poet, when he first crowns his mistress with a garland of flowers; the countryman when he stops to look at the rainbow; the city-apprentice, when be gazes after the Lord Mayor's show; the miser, when he hugs his gold; the courtier who builds his hopes upon a smile; the savage who paints his idol with blood; the Page 1 of 15
2 slave who worships a tyrant, or the tyrant, who fancies himself a god; -- the vain, the ambitious, the proud, the choleric man, the hero. and the coward, the beggar and the king, the rich and the poor, the young and the old, all live in a world of their own making; and the poet does no more than describe what all the others think and act. If his art is folly and madness, it is folly and madness at second hand. There is warrant for it.' Poets alone have not 'such seething brains, such shaping fantasies, that apprehend more than cooler reason' can. The lunatic, the lover, and the poet And of imagination all compact. One sees more devils than vast hell can hold; The madman. While the lover, all as frantic, Sees Helen's beauty in a brow of Egypt. The poet's eye in a fine frenzy rolling, Doth glance from heav'n to earth, from earth to heav'n; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shape, and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination. If poetry is a dream, the business of life is much the same. If it is a fiction, made up of what we wish things to be, and fancy that they are, because we wish them so, there is no other nor better reality. Ariosto had described the loves of Angelica and Medoro: but was not Medoro, who carved the name of his mistress on the barks of trees, as much enamoured of her charms as he? Homer has celebrated the anger of Achilles: but was not the hero as mad as the poet? Plato banished the poets from his Commonwealth, lest their descriptions of the natural man should spoil his mathematical man, who was to be without passions and affections, who was neither to laugh nor weep, to feel sorrow nor anger, to be cast down nor elated by anything. This was a chimera, however, which never existed but in the brain of the inventor; and Homer's poetical world has outlived Plato's philosophical Republic. Poetry then is an imitation of nature, but the imagination and the passions are a part of man's nature. We shape things according to our wishes and fancies, without poetry; but poetry is the most emphatical language that can be found for those creations of the mind 'which ecstasy is very cunning in'. Neither a mere description of natural objects, nor a mere delineation of natural feelings, however distinct or forcible, constitutes the ultimate end and aim of poetry, without the heightenings of the imagination. The light of poetry is not only a direct but also a reflected light, that while it shows us the object, throws a sparkling radiance on all around it: the flame of the passions, communicated to the imagination, reveals to us, as with a flash of lightning, the inmost recesses of thought, and penetrates our whole being. Poetry represents forms chiefly as they suggest other forms; feelings, as they suggest forms or other feelings. Poetry puts a spirit of life and Page 2 of 15
3 motion into the universe. It describes the flowing, not the fixed. It does not define the limits of sense, or analyse the distinctions of the understanding, but signifies the excess of the imagination beyond the actual or ordinary impression of any object or feeling. The poetical impression of any object is that uneasy, exquisite sense of beauty or power that cannot be contained within itself; that is impatient of all limit; that (as flame bends to flame) strives to link itself to some other image of kindred beauty or grandeur; to enshrine itself, as it were, in the highest forms of fancy, and to relieve the aching sense of pleasure by expressing it in the boldest manner, and by the most striking examples of the same quality in other instances. Poetry, according to Lord Bacon, for this reason, 'has something divine in it, because it raises the mind and hurries it into sublimity, by conforming the shows of things to the desires of the soul, instead of subjecting the soul to external things, as reason and history do.' It is strictly the language of the imagination; and the imagination is that faculty which represents objects, not as they are in themselves, but as they are moulded by other thoughts and feelings, into an infinite variety of shapes and combinations of power. This language is not the less true to nature, because it is false in point of fact; but so much the more true and natural, if it conveys the impression which the object under the influence of passion makes on the mind. Let an object, for instance, be presented to the senses in a state of agitation or fear -- and the imagination will distort or magnify the object, and convert it into the likeness of whatever is most proper to encourage the fear. 'Our eyes are made the fools' of our other faculties. This is the universal law of imagination, That if it would but apprehend some joy, It comprehends some bringer of that joy: Or in the night imagining some fear, How easy is each bush suppos'd a bear! When Iachimo says of Imogen, -The flame o' th' taper Bows toward her, and would under-peep her lids To see the enclosed lights This passionate interpretation of the motion of the flame to accord with the speaker's own feelings, Is true Poetry. The lover, equally with the poet, speaks of the auburn tresses of his mistress as locks of shining gold, because the least tinge of yellow in the hair has, from novelty and a sense of personal beauty, a more lustrous effect to the imagination than the purest gold. We compare a man of gigantic stature to a tower: not that he is anything like so large, but because the excess of his size beyond what we are accustomed to expect, or the usual size of things of the same class, produces by contrast a greater feeling of magnitude and ponderous strength than another object of ten times the same dimensions. The intensity of the feeling makes up for the disproportion of the objects. Things are equal to the imagination, which have the power of affecting the mind with an equal degree of terror, admiration, delight, or love. When Lear calls upon the heavens to avenge his cause, 'for they are old like him', there is Page 3 of 15
4 nothing extravagant or impious in this sublime identification of his age with theirs; for there is no other image which could do justice to the agonizing sense of his wrongs and his despair! Poetry is the high-wrought enthusiasm of fancy and feeling. As in describing natural objects, it impregnates sensible impressions with the forms of fancy, so it describes the feelings of pleasure or pain, by blending them with the strongest movements of passion, and the most striking forms of nature. Tragic poetry, which is the most impassioned species of it, strives to carry on the feeling to the utmost point of sublimity or pathos, by all the force of comparison contrast; loses the sense of present suffering in the imaginary exaggeration of it; exhausts the terror or pity by an unlimited indulgence of it; grapples with impossibilities in its desperate impatience of restraint; throws us back upon the past, forward into the future; brings every moment of our being or object of nature in startling review before us; and in the rapid whirl of events, lifts us from the depths of woe to the highest contemplations on human life. When Lear says of Edgar, ' Nothing but his unkind daughters could have brought him to this'; what bewildered amazement, what a wrench of the imagination, that cannot be brought to conceive of any other cause of misery than that which has bowed it down, and absorbs all other sorrow in its own! His sorrow, like a flood, supplies the sources of all other sorrow. Again, when he exclaims in the mad scene, 'The little dogs and all, Tray, Blanche, and Sweetheart, see, they bark at me!' it is passion lending occasion to imagination to make every creature in league against him, conjuring up ingratitude and insult in their least looked-for and most galling shapes, searching every thread and fibre of his heart, and finding out the last remaining image of respect or attachment in the bottom of his breast, only to torture and kill it! In like manner, the 'So I am' of Cordelia gushes from her heart like a torrent of tears, relieving it of a weight of love and of supposed ingratitude, which had pressed upon it for years. What a fine return of the passion upon itself is that in Othello -- with what a mingled agony of regret and despair he clings to the last traces of departed happiness -- when he exclaims, -- Oh now, for ever Farewel the tranquil mind. Farewel content; Farewel the plumed troops and the big war, That make ambition virtue! Oh farewel! Farewel the neighing steed, and the shrill trump, The spirit-stirring drum, th' ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war: And 0 you mortal engine, whose rude throats Th' immortal Jove's dread clamours counterfeit, Farewel! Othello's occupation's gone! How his passion lashes itself up and swells and rages like a tide in its sounding course, when in answer to the doubts expressed of his returning love, he says, Page 4 of 15
5 Never, Iago. Like to the Pontic sea, Whose icy current and compulsive course Ne'er feels retiring ebb, but keeps due on To the Propontic and the Hellespont: Even so my bloody thoughts, with violent pace, Shall ne'er look back, ne'er ebb to humble love, Till that a capable and wide revenge Swallow them up. The climax of his expostulation afterwards with Desdemona, is at that line, But there where I had garner'd up my heart, To be discarded thence! One mode in which the dramatic exhibition of passion on excites our sympathy without raising our disgust is, that in proportion as it sharpens the edge of calamity and disappointment, it strengthens the desire of good. It enhances our consciousness of the blessing, by making us sensible of the magnitude of the loss. The storm of passion lays bare and shows us the rich depths of the human soul: the whole of our existence, the sum total of our passions and pursuits, of that which we desire and that which we dread, is brought before us by contrast; the action and reaction are equal; the keenness of immediate suffering only gives us a more intense aspiration after, and a more intimate participation with the antagonist world of good makes us drink deeper of the cup of human life tugs at the heart-strings; loosens the pressure about them; and calls the springs of thought and feeling into play with tenfold force. Impassioned poetry is an emanation of the moral and intellectual part of our nature, as well as of the sensitive -- of the desire to know, the will to act, and the power to feel; and ought to appeal to these different, parts of our constitution, in order to be perfect. The domestic or prose tragedy, which is thought to be the most natural, is in this sense the least so, because it appeals almost exclusively to one of these faculties, our sensibility. The tragedies of Moore and Lillo, for this reason, however affecting at the time, oppress and lie like a dead weight upon the mind, a load of misery which it is unable to throw off: the tragedy of Shakespeare, which is true poetry, stirs our inmost affections; abstracts evil from itself by combining it with all the forms of imagination, and with the deepest workings of the heart, and rouses the whole man within us. The pleasure, however, derived from tragic poetry, is not anything peculiar to it as poetry, as a fictitious and fanciful thing. It is not an anomaly of the imagination. It has its source and groundwork in the common love of strong excitement. As Mr. Burke observes, people flock to see a tragedy; but if there were a public execution in the next street, the theatre would very soon be empty. It is not then the difference between fiction and reality that solves the difficulty. Children are satisfied with the stories of ghosts and witches in plain prose: nor do the hawkers of full, true, and particular accounts of murders and executions about the streets, Page 5 of 15
6 find it necessary to have them turned into penny ballads, before they can dispose of these interesting and authentic documents. The grave politician drives a thriving trade of abuse and calumnies poured out against those whom he makes his enemies for no other end than that he may live by them. The popular preacher makes less frequent mention of heaven than of hell. Oaths and nicknames are only a more vulgar sort of poetry or rhetoric. We are as fond of indulging our violent passions as of reading a description of those of others. We are as prone to make a torment of our fears, as to luxuriate in our hopes of good. If it be asked, Why we do so? the best answer will be, Because we cannot help it. The sense of power is as strong a principle in the mind as the love of pleasure. Objects of terror and pity exercise the same despotic control over it as those of love or beauty. It is as natural to hate as to love, to despise as to admire, to express our hatred or contempt, as our love or admiration. Masterless passion sways us to the mood Of what it likes or loathes. Not that we like what we loathe; but we like to indulge our hatred and scorn of it; to dwell upon it, to exasperate our idea of it by every refinement of ingenuity and extravagance of illustration; to make it a bugbear to ourselves, to point it out to others in all the splendour of deformity, to embody it to the senses, to stigmatize it by name, to grapple with it in thought, in action, to sharpen our intellect, to arm our will against it, know the worst we have to contend with, and to contend with it to the utmost. Poetry is only the highest eloquence of passion, the most vivid form of expression that can be given to our conception of anything, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way, that gives an instant 'satisfaction to the thought'. This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic. When Pope says of the Lord Mayor's show, -- Now night descending, the proud scene is o'er, But lives in Settle's numbers one day more! -- when Collins makes Danger, 'with limbs of giant mould', -- Throw him on the steep Of Some loose hanging rock asleep: when Lear calls out in extreme anguish, Ingratitude, thou marble-hearted fiend, How much More hideous shew'st in a child Than the sea-monster! -- the passion of contempt in the one case, of terror in the other, and of indignation in the last, is perfectly satisfied. We see the thing ourselves, and show it to others as we feel it to exist, and as, in spite of ourselves, we are compelled to think of it. The imagination, by thus embodying and turning them to shape, gives an obvious relief to the indistinct and importunate cravings of the Page 6 of 15
7 will. -- We do not wish the thing to be so; but we wish it to appear such as it is. For knowledge is conscious power; and the mind is no longer, in this case, the dupe, though it may be the victim of vice or folly. Poetry is in all its shapes the language of the imagination and the passions, of fancy and will. Nothing, therefore, can be more absurd than the outcry which has been sometimes raised by frigid and pedantic critics, for reducing the language of poetry to the standard of common sense and reason: for the end and use of poetry, 'both at the first and now, was and is to hold the mirror up to nature', seen through the medium of passion and imagination, not divested of that medium by means of literal truth or abstract reason. The painter of history might as well be required to represent the face of a person who has just trod upon a serpent with the still-life expression of a common portrait, as the poet to describe the most striking and vivid impressions which things can be supposed to make upon the mind, in the language of common conversation. Let who will strip nature of the colours and the shapes of fancy, the poet is not bound to do so; the impressions of common sense and strong imagination, that is, of passion and indifference, cannot be the same, and they must have a separate language to do justice to either. Objects must strike differently upon the mind, independently of what they are in themselves, as long as we have a different interest in them, as we see them in a different point of view, nearer or at a greater distance (morally or physically speaking) from novelty, from old acquaintance, from our ignorance of them, from our fear of their consequences, from contrast, from unexpected likeness. We can no more take away the faculty of the imagination, than we can see all objects without light or shade. Some things must dazzle us by their preternatural light; others must hold us in suspense, and tempt our curiosity to explore their obscurity. Those who would dispel these various illusions, to give us their drab-coloured creation in their stead, are not very wise. Let the naturalist, if he will, catch the glow-worm, carry it home with him in a box, and find it next morning nothing but a little grey worm; let the poet or the lover of poetry visit it at evening, when beneath the scented hawthorn and the crescent moon it has built itself a palace of emerald light. This is also one part of nature, one appearance which the glow- worm presents, and that not the least interesting; so poetry is one part of the history of the human mind, though it is neither science nor philosophy. It cannot be concealed, however, that the progress of knowledge and refinement has a tendency, to circumscribe the limits of the imagination, and to clip the wings of poetry. The province of the imagination is principally visionary the unknown and undefined: the understanding restores things to their natural boundaries, and strips them of their fanciful pretensions. Hence the history of religious and poetical enthusiasm is much the same; and both have received a sensible shock from the progress of experimental philosophy. It is the undefined and uncommon that gives birth and scope to the imagination; we can only fancy what we do not know. As in looking into the mazes of a tangled wood we fill them with what shapes we please, with ravenous beasts, with caverns vast, and drear enchantments, so in our ignorance of the world about us, we make gods or devils of the first object we see, and set no bounds to the wilful suggestions of our hopes and fears. Page 7 of 15
8 And visions, as poetic eyes avow, Hang On each leaf and cling to every bough. There can never be another Jacob's dream. Since that time, the heavens have gone farther off, and grown astronomical. They have become averse to the imagination, nor will they return to us on the squares of the distances, or on Doctor Chalmers's Discourses. Rembrandt's picture brings the matter nearer to us. -- It is not only the progress of mechanical knowledge, but the necessary advances of civilization that are unfavourable to the spirit of poetry. We not only stand in less awe of the preternatural world, but we can calculate more surely, and look with more indifference, upon the regular routine of this. The heroes of the fabulous ages rid the world of monsters and giants. At present we are less exposed to the vicissitudes of good or evil, to the incursions of wild beasts or' bandit fierce', or to the unmitigated fury of the elements. The time has been that 'our fell of hair would at a dismal treatise rouse and stir as life were in it'. But the police spoils all; and we now hardly so much as dream of a midnight murder. Macbeth is only tolerated in this country for the sake of the music; and in the United States of America, where the philosophical principles of government are carried still farther in theory and practice, we find that the Beggar's Opera is hooted from the stage. Society, by degrees, is constructed into a machine that carries us safely and insipidly from one end of life to the other, in a very comfortable prose style. Obscurity her curtain round them drew, And siren Sloth a dull quietus sung. The remarks which have been here made, would, in some measure, lead to a solution of the question of the comparative merits of painting and poetry. I do not mean to give any preference, but it should seem that the argument which has been sometimes set up, that painting must affect the imagination more strongly, because it represents the image more distinctly, is not well founded. We may assume without much temerity, that poetry is more poetical than painting. When artists or connoisseurs talk on stilts about the poetry of painting, they show that they know little about poetry, and have little love for the art. Painting gives the object itself; poetry what it implies, Painting embodies what a thing contains in itself: poetry suggests what exists out of it, in any manner connected with it. But this last is the proper province of the imagination. Again, as it relates to passion, painting gives the event poetry the progress of events: but it is during the progress, in the interval of expectation and suspense, while our hopes and fears am strained to the highest pitch of breathless agony, that the pinch of the interest lies. Between the acting of a dreadful thing And the first motion, all the interim is Page 8 of 15
9 Like a phantasma or a hideous dream. The mortal instruments are then in council; And the state of man, like to a little kingdom, Suffers then the nature of an insurrection. But by the time that the picture is painted, all is over. Faces are the best part of a picture; but even faces are not what we chiefly remember in what interests us most, -- But it may be asked then, Is there anything better than Claude Lorraine's landscapes, than Titian's portraits, Raphael's cartoons, or the Greek statues? Of the two first I shall say nothing, as they are evidently picturesque, rather than imaginative. Raphael's cartoons are certainly the finest comments that ever were made on the Scriptures. Would their effect be the same if we were acquainted with the text? But the New Testament existed before the cartoons. There is one subject of which there is no cartoon, Christ washing the feet of the disciples the night before his death. But that chapter does not need a commentary! It is for want of some such resting place for the imagination that the Greek statues are little else than specious forms. They are marble to the touch and to the heart. They have not an informing principle within them. In their faultless excellence they appear sufficient to themselves. By their beauty they are raised above the frailties of passion or suffering. By their beauty they are deified. But they are not objects of religious faith to us, and their forms are a reproach to common humanity. They seem to have no sympathy with us, and not to want our admiration. Poetry in its matter and form is natural imagery or feeling, combined with passion and fancy. In its mode of conveyance, it combines the ordinary use of language with musical expression. There is a question of long standing, in what the essence of poetry consists; or what it is that determines why one set of ideas should be expressed in prose, another in verse. Milton has told us his idea of poetry in a single line -- Thoughts that voluntary move Harmonious numbers. As there are certain sounds that excite certain movements, and the song and dance go together, so there are, no doubt, certain thoughts that lead to certain tones of voice, or modulations of sound, and change 'the words of Mercury into the songs of Apollo'. There is a striking instance of this adaptation of the movement of sound and rhythm to the subject, in Spenser's description of the Satyrs accompanying Una to the cave of Sylvanus. So from the ground she fearless doth arise And walketh forth without suspect of crime. They, all as glad as birds of joyous prime, Thence lead her forth, about her dancing round, Shouting and singing all a shepherd's rhyme; And with green branches strewing all the ground, Do worship her as queen with olive garland crown'd. Page 9 of 15
10 And all the way their merry pipes they sound, That all the woods and doubled echoes ring; And with their horned feet do wear the ground, Leaping like wanton kids in pleasant spring; So towards old Sylvanus they her bring, Who with the noise awaked, cometh out. Faery Queen, b.i.c.vi. On the contrary, there is nothing either musical or natural in the ordinary construction of language. It is a thing altogether arbitrary and conventional. Neither in the sounds themselves, which are the voluntary signs of certain ideas, nor in their grammatical arrangements in common speech, is there any principle of natural imitation, or correspondence to the individual ideas, or to the tone of feeling with which they are conveyed to others. The Jerks, the breaks, the inequalities, and hanshnesses of prose, are fatal to the flow of a poetical imagination, as a jolting road or a stumbling horse disturbs the reverie of an absent man. But poetry makes these odds all even. It is the music of language, answering to the music of the mind, untying as it were 'the secret soul of harmony'. Wherever any object takes such a hold of the mind as to make us dwell upon it, and brood over it, melting the heart in tenderness, or kindling it to a sentiment of enthusiasm; -- wherever a movement of imagination or passion is impressed on the mind, by which it seeks to prolong and repeat the emotion, to bring all other objects into accord with it, and to give the same movement of harmony, sustained and continuous, or gradually varied according to the occasion, to the sounds that express it -- this is poetry. The musical in sound is the sustained and continuous; the musical in thought is the sustained and continuous also. There is a near connexion between music and deep-rooted passion. Mad people sing. As often as articulation passes naturally into intonation, there poetry begins. Where one idea gives a tone and colour to others, where one feeling melts others into it, there can be no reason why the same principle should not be extended to the sounds by which the voice utters these emotions of the soul, and blends syllables and lines into each other. It to supply the inherent defect of harmony in the customary mechanism of language, to make the sound an echo to the sense, when the sense becomes a sort of echo to itself -- to mingle the tide of verse, 'the golden cadences of poetry', with the tide of feeling, flowing and murmuring as it flows -- in short, to take the language of the imagination from off the ground, and enable it to spread its wings where it may indulge its own impulses Sailing with supreme dominion Through the azure deep of air without being stopped, or fretted, or diverted with the abruptnesses and petty obstacles, and discordant flats and sharps of prose, that poetry was invented. It is to common language, what springs are to a carriage, or wings to feet. In ordinary speech we arrive at a certain harmony by the modulations of the voice: Page 10 of 15
11 in poetry the same thing is done systematically by a regular collocation of syllables. It has been well observed, that every one who declaims warmly, or grows intent upon a subject, rises into a sort of blank verse or measured prose. The merchant, as described in Chaucer, went on his way 'sounding always the increase of his winning'. Every prose-writer has more or less of rhythmical adaptation, except poets, who, when deprived of the regular mechanism of verse, seem to have no principle of modulation left in their writings. An excuse might be made for rhyme in the same manner. It is but fair that the ear should linger on the sounds that delight it, or avail itself of the same brilliant coincidence and unexpected, recurrence of syllables, that have been displayed in the invention and collocation of images. It is allowed that rhyme assists the memory; and a man of wit and shrewdness has been heard to say, that the only four good lines of poetry are the well- known ones which tell the number of days in the months of the year. Thirty days hath September, etc. But if the jingle of names assists the memory, may it not also quicken the fancy? and there are other things worth having at our fingers' ends, besides the contents of the almanac. -- Pope's versification is tiresome, from its excessive sweetness and uniformity. Shakespeare's blank verse is the perfection of dramatic dialogue. All is not poetry that passes for such: nor does verse make the whole difference between poetry and prose. The Iliad does not cease to be poetry in a literal translation; and Addison's Campaign has been very properly denominated a Gazette in rhyme. Common prose differs from poetry, as treating for the most part either of such trite, familiar, and irksome matters of fact, as convey no extraordinary impulse to the imagination, or else of such difficult and laborious processes of the understanding, as do not admit of the wayward or violent movements either of the imagination or the passions. I will mention three works which come as near to poetry as possible without absolutely being so, namely, the Pilgrim's Progress, Robinson Crusoe, and the Tales of Boccaccio. Chaucer and Dryden have translated some of the last into English rhyme, but the essence and the power of poetry was there before. That which lifts the spirit above the earth, which draws the soul out of itself with indescribable longings, is poetry in kind, and generally fit to become so in name, by being 'married to immortal verse '. If it is of the essence of poetry to strike and fix the imagination, whether we will or no, to make the eye of childhood glisten with the starting tear, to be never thought of afterwards with indifference, John Bunyan and Daniel Defoe may be permitted to pass for poets in their way. The mixture of fancy and reality in the Pilgrim's Progress was never equalled in any allegory. His pilgrims walk above the earth, and yet are on it. What zeal, what beauty, what truth of fiction! What deep feeling in the description of Christian's swimming across the water at last, and in the picture of the Shining Page 11 of 15
12 Ones within the gates, with wings at their backs and garlands on their heads, who are to wipe all tears from his eyes! The writer's genius, though not 'dipped in dews of Castalie', was baptized with the Holy Spirit and with fire. The prints in this book are no small part of it. If the confinement of Philoctetes in the island of Lemnos was a subject for the most beautiful of all the Greek tragedies, what shall we say to Robinson Crusoe in his? Take the speech of the Greek hero on leaving his cave, beautiful as it is, and compare it with the reflections of the English adventurer in his solitary place of confinement. The thoughts of home, and of all from which he is for ever cut off, swell and press against his bosom, as the heaving ocean rolls its ceaseless tide against the rocky shore, and the very beatings of his heart become audible in the eternal silence that surrounds him. Thus he says: "As I walked about, either in my hunting, or for viewing the country, the anguish of my soul at my condition would break out upon me on a sudden, and my very heart would die within me to think of the woods, the mountains, the deserts I was in; and how I was a prisoner, locked up with the eternal bars and bolts of the ocean, in an uninhabited wilderness, without redemption. In the midst of the greatest composures of my mind, this would break out upon me like a storm, and make me wring my hands, and weep like a child. Sometimes it would take me in the middle of my work, and I would immediately sit down and sigh, and look upon the ground for an hour or two together, and this was still worse to me, for if I could burst into tears or vent myself in words, it would go off, and the grief having exhausted itself abate." The story of his adventures would not make a poem like the Odyssey, it is true; but the relator had the true genius of a poet. It has been made a question Richardson's romances are poetry; and the answer perhaps is, that they are not poetry, because they are not romance. The interest is worked up to an number of little things, by incessant labour and calls upon the attention, by repetition of blows that have no rebound in them. The sympathy excited is not a voluntary contribution, but a tax. Nothing is unforced and spontaneous. There is a want of elasticity and motion. The story does not 'give an echo to the seat where love is throned.' The heart does not answer of itself like a chord in music. The fancy does not run on before the writer with breathless expectation, but is dragged along with an infinite number of pins and wheels, like those with which the Lilliputians dragged Gulliver pinioned to the royal palace. -- Sir Charles Grandison is a coxcomb. What sort of a figure would he son I Die poem, by. the side Of cut, translated into an epic poem by the side of Achilles? Clarissa, the divine Clarissa, is too interesting by half. She! is interesting in her ruffles, in her gloves, her samplers, her aunts and uncles -- she is interesting in all that is uninteresting. Such things, however intensely they may be brought home to us, are conductors to the imagination. There is infinite truth and feeling in Richardson; but it is extracted from a caput mortuum of circumstances: it does not evaporate of itself. His poetical genius is like Ariel confined in a pine-tree, and requires an artificial process to let it out. Shakespeare says Page 12 of 15
13 Our poesy is as a gum Which issues whence 'tis nourished, our gentle flame Provokes itself, and like the current flies Each bound it chafes. I shall conclude this general account with some remarks on four of the principal works of poetry in the world, at different periods of history, -- Homer, the Bible, Dante, and let me add, Ossian. In Homer, the principle of action or life is predominant; in the Bible, the principle of faith and the idea of Providence; Dante is a personification of blind will; and in Ossian we see the decay of life, and the lag end of the world. Homer's poetry is the heroic: it is full of life and action: it is bright as the day, strong as a river. In the vigour of his intellect, he grapples with all the objects of nature, and enters into all the relations of social life. He saw many countries, and the manners of many men; and he has brought them all together in his poem. He describes his heroes going to battle with a prodigality of life, arising from an exuberance of animal spirits: we see them before us, their number, and their order of battle, poured out upon the plain 'all plumed like estriches, like eagles newly bathed, wanton as goats, wild as young bulls, youthful as May, and gorgeous as the sun at midsummer', covered with glittering armour, with dust and blood; while the Gods quaff their nectar in golden cups, or mingle in the fray; and the old men assembled on the walls of Troy rise up with reverence as Helen passes by them. The multitude of things in Homer is wonderful; their splendour, their truth, their force, and variety. His poetry is, like his religion, the poetry of number and form: he describes the bodies as well as the souls of men. The poetry of the Bible is that of imagination and of faith: it is abstract and disembodied: it is not the poetry of form, but of power; not of multitude, but of immensity. It does not divide into many, but aggrandizes into one. Its ideas of nature are like its ideas of God. It is not the poetry of social life, but of solitude: each man seems alone in the world, with the original forms of nature, the rocks, the earth, and the sky. It is not the poetry of action or heroic enterprise, but of faith in a supreme Providence, and resignation to the power that governs the universe. As the idea of God was removed farther from humanity and a scattered polytheism, it became more profound and intense, as it became more universal, for the Infinite is present to everything: 'If we fly into the uttermost parts of the earth, it there also; if we turn to the east or the west, we cannot escape from it.' Man is thus aggrandized in the image of his Maker. The history of the patriarchs is of this kind; they are founders of a chosen race of people, the inheritors of the earth; they exist in the generations which are to come after them. Their poetry, like their religious creed, is vast, unformed, obscure, and infinite; a vision is upon it -- an invisible hand is suspended over it. The spirit of the Christian religion consists in the glory hereafter to be revealed; but in the Hebrew dispensation, Providence took an immediate share in the affairs of this life. Jacob's dreams arose out of this intimate communion between heaven and earth: it was this that Page 13 of 15
14 let down, in the sight of the youthful patriarch, a golden ladder from the sky to the earth, with angels ascending and descending upon it, and shed a light upon the lonely place, which can never pass away. The story of Ruth, again, is as if all the depth of natural affection in the human race was involved in her breast. There are descriptions in the book of Job more prodigal of imagery, more intense in passion, than anything in Homer, as that of the state of his prosperity, and of the vision that came upon him by night. The metaphors in the Old Testament are more boldly figurative. Things were collected more into masses, and gave a greater momentum to the imagination. Dante was the father of modern poetry, and be may therefore claim a place in this connection. His poem is the first great step from Gothic darkness and barbarism; and the struggle of thought in it to burst the thralldom in which the human mind had been so long held, is felt in every page. He stood bewildered, not appalled, on that dark shore which separates the ancient and the modern world; and saw the glories of antiquity dawning through the abyss of time, while revelation opened its passage to the other world. He was lost in wonder at what had been done before him, and he dared to emulate it. Dante seems to have been indebted to the Bible for the gloomy tone of his mind, as well as for the prophetic fury which exalts and kindles his poetry; but he is utterly unlike Homer. His genius is not a sparkling flame, but the sullen heat of a furnace. He is power, passion, self-will personified. In all that relates to the descriptive or fanciful part of poetry, he bears no comparison to many who had gone before, or who have come after him; but there is a gloomy abstraction in his conceptions, which lies like a dead weight upon the mind; a benumbing stupor, a breathless awe, from the intensity of the impression; a terrible obscurity, like that which oppresses us in dreams; an identity of interest, which moulds every object to its own purposes, and clothes all things with the passions and imaginations of the human soul, -- that make amends for all other deficiencies. The immediate objects he presents to the mind are not much in themselves, they want grandeur, beauty, and order; but they become everything by the force of the character he impresses upon them. His mind lends its own power to the objects which it contemplates, instead of borrowing it from them. He takes advantage even of the nakedness and dreary vacuity of his subject. His imagination peoples the shades of death, and broods over the silent air. He is the severest of all writers, the most hard and impenetrable, the most opposite to the flowery and glittering; who relies most on his own power, and the sense of it in others' and who leaves most room to the imagination of his readers. Dante's only endeavour is to interest; and he interests by exciting our sympathy with the emotion by which he is himself possessed. He does not place before us the objects by which that emotion has been created; but he seizes on the attention, by showing us the effect they produce on his feelings; and his poetry accordingly gives the same thrilling and overwhelming sensation, which is caught by gazing on the face of a person who has seen some object of horror. The improbability of the events, the abruptness and monotony in the Inferno, are excessive: but the interest never flags, from the continued earnestness of the author's mind. Dante's great power is in combining internal Page 14 of 15
15 feelings with external objects. Thus the gate of hell, on which that withering inscription is written, seems to be endowed with speech and consciousness, and to utter its dread warning, not without a sense of mortal woes. This author habitually unites the absolutely local and individual with the greatest wildness and mysticism. In the midst of the obscure and shadowy regions of the lower world, a tomb suddenly rises up with the inscription, 'I am the tomb of Pope Anastasius the Sixth': and half the personages whom be has crowded into the Inferno are his own acquaintance. All this, perhaps, tends to heighten the effect by the bold intermixture of realities, and by an appeal, as it were, to the individual knowledge and experience of the reader. He affords few subjects for picture. There is, indeed, one gigantic one, that of Count Ugolino, of which Michael Angelo made a bas-relief, and which Sir Joshua Reynolds ought not to have painted. Another writer whom I shall mention last, and whom I cannot persuade myself to think a mere modern in the groundwork, is Ossian. He is a feeling and a name that can never be destroyed in the minds of his readers. As Homer is the first vigour and lustihead, Ossian is the decay and old age of poetry. He lives only in the recollection and regret of the past. There is one impression which he conveys more entirely than all other poets, namely, the sense of privation, the loss of all things, of friends, of good name, of country -- he is even without God in the world. He converses only with the spirits of the departed; with the motionless and silent clouds. The cold moonlight sheds its faint lustre on his head; the fox peeps out of the ruined tower; the thistle waves its beard to the wandering gale; and the strings of his harp seem, as the hand of age, as the tale of other times, passes over them, to sigh and rustle like the dry reeds in the winter's wind! The feeling of cheerless desolation, of the loss of the pith and sap of existence, of the annihilation of the substance, and the clinging to the shadow of all things as in a mock-embrace, is here perfect. In this way, the lamentation of Selma for the loss of Salgar is the finest of all. If it were indeed possible to show that this writer was nothing, it would only be another instance of mutability, another blank made, another void left in the heart, another confirmation of that feeling which makes him so often complain, 'Roll on, ye dark brown years, ye bring no joy on your wing to Ossian!' Page 15 of 15
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What's the Word? - new quiz with pics and word
December 13, 2015 19:07
About What's the Word? - new quiz with pics and word
Surprisingly simple, amazingly addictive, everyone's new favorite game!
We'll show you four pictures that have one word in common between them. Can you guess what the word is? (Hint - when you see a picture of a bank card and a picture of a river bank, the word is... bank! When you see a four leaf clover and a happy jackpot winner, the word is... luck!).
As a word game lover, you'll find this game to be quick, easy, a lot of fun, and the best part is that you already know how to play!
Now go play and Have Fun!
Simmilar App
26.09 15:05
26.09 15:02
16.09 09:40
09.09 12:00
07.09 10:21

subset: commoncrawl


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17263 Iroquois Boulevard, Three Rivers MI, 49093
Sold Price:
3 beds , 2 Full baths
2,325 sqft
Status: Closed
Last Updated: 7/25/2017 11:55 AM
Description for 17263 Iroquois Boulevard Three Rivers, MI 49093
Tamarac gem tucked away on a tree lined boulevard and ready to move in to! This 3 bed, 2 full bath home is in as terrific shape as the day the owner bought it. Convenient main floor laundry and open dining and living area flow into the 4 season porch that overlooks the private back yard. Finished basement add extra room, full bath and family room. Spacious 20x24 garage offers plenty of room for 2 cars. Just a well maintained home in Three Rivers schools and well established neighborhood.
Sold Price:
Sold Date:12/12/2016
Lockport Twp
St. Joseph
2 Full
2,325 (approx)
Listing Information
Lockport Twp
Crawl Space
Other, Septic
Cable TV, Natural Gas, Telephone
School Information
Room Information
Interior Features
Dishwasher, Dryer, Microwave, Convection Oven, Refrigerator, Washer
Wall Air Conditioning
Gas Heat, Hot Water
Basement, Full
Exterior / Lot Features
Attached Garage, 2 Car Garage
Paved Road, Public Roads
Community Features
Park Play Area
Driving Directions
From US 131 & Heimbach Rd: E on Heimbach Rd 2 mi, S on Buckhorn Rd 3 mi, W on Iroquois to house on left.
Financial Considerations
Listing Price History
Three Rivers Real Estate
Three Rivers is located in Michigan. Three Rivers, Michigan 49093 has a population of 7,752.
The median household income in Three Rivers, Michigan 49093 is $32,545. The median household income for the surrounding county is $44,145 compared to the national median of $53,482. The median age of people living in Three Rivers 49093 is 30.7 years.
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The Book of Second Peter
|Select a Chapter:
|Chapter 1
|Chapter 2
|Chapter 3
The book of 2 Peter is the second of two letters that are included in the New Testament of the Bible that were written by the apostle Peter. It was written in the mid-60's a.d.
In this letter Peter speaks about falsehoods and evil within the church and exhorts us to be watchful in the last days.
|New Testament
|1 Peter
|1 John


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Posted by ESPN.com's Kevin Seifert
Yikes. The National Football Post, a Web site that has multiple connections inside the Green Bay organization, is reporting Monday morning that the Packers have fired every defensive coach with the exception of assistant head coach/linebackers Winston Moss.
The Post reported Sunday that defensive coordinator Bob Sanders was fired, news that has since been confirmed by the Wisconsin State Journal. But Monday's report means that defensive ends coach Carl Hairston, defensive tackles coach Robert Nunn, secondary coach Kurt Schottenheimer, cornerbacks coach Lionel Washington and defensive quality control coach Joe Whitt Jr. are all out as well.
Moss is a well-regarded assistant and has interviewed for the St. Louis Rams' open head coach position.
The Packers have yet to confirm any of these moves but did announce the retirement of special teams coordinator Mike Stock last week.
If these moves all come to fruition, McCarthy would have effected tremendous staff turnover following a 6-10 season. It also means that the candidates he has in mind as Sanders' replacement -- Mike Nolan and Jim Haslett are among those being mentioned -- are veteran coordinators who would want their own staff of defensive assistants. It's also possible that Moss will get the job but will not have to perform the dirty work of firing former colleagues.
Finally, McCarthy seems poised to enter 2009 with an entirely new set of coordinators in comparison to the group he hired three years ago. His original offensive coordinator, Jeff Jagodzinski, left after the 2006 season to take the head coaching job at Boston College.


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The 2017 Sportage EX comes standard with a 2.4L Gasoline Direct Injection 4-Cylinder Engine, 6-Speed Automatic Transmission w/ Sportmatic, Rear Spoiler, Roof Rails, Infinity Premium Audio System, Android Auto and Apple Car Play, and Rear Camera Display. It also comes equipped with Auto-Dimming Rearview Mirror w/Homelink, Heated Outside Door Mirrors, Windshield Wiper Deicer, Push Button Start with Smart Key, Heated Front Seats, USB/AUX Input Jacks, Bluetooth Wireless Capability, 60/40 Split Folding & Reclining Rear Seat, Carpeted Floor Mats, and Rollover Sensor. This vehicle includes a $1000 Customer Cash Bonus. Qualified buyers may be eligible for an additional $400 Military Bonus for those who are active duty or honorably discharged, with proper documentation, a $400 Grad Bonus for those who have graduated within the past 12 months. Please see dealer for details, offer valid through 9/5/17.
Price may exclude tax, title, tags, governmental fees, any emissions testing charges and any finance charges (if applicable). Unless otherwise stated separately in the vehicle details, price does not include documentation, processing, administrative, closing or similar fees. Current mileage may vary due to test drives and vehicle relocation.


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Executive Director Melissa Payton
Melissa Payton graduated from Missouri Baptist University with a degree in Vocal Performance. Shortly after graduation, she joined the Bach Society as their Soprano Young Artist in 2004 and continues to sing in the Chorus today as a Principal Singer. Melissa accepted the position of Executive Director in the Spring of 2013 and is excited about contributing to the success of the organization in her new role. A native of Florissant, Missouri, Melissa now resides with her husband Ryan in St. Charles.
Board of Directors
Linda Lee, Chair
Barry Kirk, Vice Chair
Andrew V. Wuellner, Treasurer
Andrew Martin, Chorus President
Matthew Brickler
Aaron Chickos
J. Michael Clear
Robert P. Elsperman
Becky Hauk
Marion Hayes
Elizabeth Higginbotham
Harry Moppins
Mark Pye
Harley Smith
Geneen Von Kloha
Alexander Weymann
Douglas Wilton
Advisory Board
Kenneth Bower
Dr. William Doub
Jeanene Dugan
Catherine Edwards
Todd Harper
Roisin Hughes
Ron Klemm
Deane H. Looney
Priscilla McDonnell
Eleanor Mullin
Cynthia Murdoch
Robert V. Ogrodnik
Elizabeth Robb
Greg Upchurch
Jan and Katy VerHagen
Frank E. Vigus
Judith Wilson
Honorary Board
John Bach Pils
Bishop Robert Schnase
Vincent C. Schoemehl, Jr.
Hon. Francis G. Slay
Rabbi Jeffrey B. Stiffman


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Rock County Sheriff's Office new and old style WI Wisconsin 2 police patches
- Sold for: Start Free Trial or Sign In to see what it's worth.
- Item Category: Fraternal, Political, Organizations
- Source: eBay
- Sold Date: Feb 09, 2013
- Channel: Auction House
You are bidding on a new/unused, Rock County (Wisconsin) Sheriff's Office, cloth patches. This is a 2 patch set. 1 current style patch and 1 older style (used) department patch.These items I am offering on eBay are sold as collectible / display purposes only. This is NOT a badge or badge patch, it conveys NO authority and it complies with eBay Rules and Policies. I will combine S&H as follows: US: $1.50 for first item, then 50 cents for each additional patch. Worldwide: $3.00 for first item, then $1.00 for each additional. Payment is expected within 6 days of auctions end. After that, a non-payment notice will be filed with eBay. By bidding on this item you accept and understand all the above. E-mail with any questions. Only serious bidders please. Check out my other items!


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Coffee at sunset on the roof of a car – I love this Instagram photo for a number of reasons. My goal in life recently has been to be more "present," which is the most important concept of Zen Buddhism.
I feel like this photo captures "the present moment" perfectly. Even the fact that she is sitting on the roof of a car adds to the idea of deliberately choosing to being "still," even on a machine designed for movement.
Plus, check out that retro glass coffee maker that looks like an old Bunsen burner; yet another deliberate choice to honor the "process" or journey instead of rushing to the destination.
- Please Share!


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Just order $100 or more in Products and we pay for shipping.
The 1950 to 1952 Chevrolet
This series of five films takes a look at the models and features of the early 1950s Chevrolet automobiles. Here are the contents of this DVD:
Quality Note: The quality of these old films varies from excellent to fair. You will notice things like faded video and mixed audio quality in some of the clips.
This DVD has a runtime of approximately 55 minutes.
Here are some sample images from the DVD
|Back To List


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Share the Fantasies ...
Adult content: suitable only for mature readers.
Dan Tompkins, dead of supernatural causes at age 22, washes up on Lethe, where souls go to forget life and strive for Elysium. Pining for Gina, the love he left behind, Dan wants out. He teams with rogue soul Marco Sabonis to find a way back to the land of life. The Elysial powers are not amused. There may be Hell to pay.
Also by Arcadia Sparrow: Sonant


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As part of my series on the calories in alcohol, this time around we are looking at the calories in wine. The table below shows the amount of calories for an average glass (4-5 fl oz/115ml). The average bottle yields five glasses per bottle. Be warned as some restaurants can be generous enough to make it four glasses. As in with any other alcoholic beverage, the total amount of calories is based on the percentage of alcohol and wine contains on average a 15% alcohol percentage. Since there are too many brands to cover, the first two tables will cover the average calories in white wine and calories in red wine.
Calories in White Wine
Calories in Red Wine


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Coach Pat Galle begins his forty-fourth year in teaching and coaching, and his forty-first season at UMS-Wright. While in his career at University Military School, and now UMS-Wright, Coach Galle has served as head football, head outdoor and indoor track, and head cross-country coach since 1972. He has accumulated fifty-four Alabama State High School championships Read more…
The boys and girls will start the 2016 Cross Country season on Thursday August the 25tht at the Cottage Hill Warrior Challenge . This will be one of only two 2 mile races while the remainder of the schedule will have the Bulldogs running the 5K distance (3.1 miles). The majority of the scheudule will showcase the top seven runners in the A race and the up-and-comers competing in the B varsity runs. UMS-Wright runners will participate in nine races leading up to State Qualifying competition where the top 3 teams will advance to the State meet held in Moulton, Ala.on November 12th. Both the girl's and boy's teams will have some young but experienced runners competing this season. The girls will be returning 9 competitors from the 2015 State qualifying team, and the boys will have 7, two of whom competed last year as 7th graders. Sophmore Audrey Sewell is our only All State and All County performer and will be joined by Anna Hunt an All County runner, and top twenty performers from the Sectional senior Sarah Naman, Greer Lauber, Emily Douglas, and Alysia Lacoste. The boys team was led last year by this year senior Danner Butler and will have hopefully a tight pack of runners with juniors Andrew Dismukes, David Ericson, Evan Webster,the McGowin brothers Will and Patrick, senior Stephen Fortnor, and the two eighth graders Tre Mitchell and Owen Martin.
Hoka Hey!
2016 Varsity CC Schedule
© UMS-Wright Preparatory School, 65 Mobile Street, Mobile, AL 36607 | Telephone: (251) 479-6551


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I've have only seen Mickey Taylor in action once. I blogged about a threeway he did for Staxus, which also happened to be their 1500th scene. So when this Blake Mason scene with Riley Tess fell in my assignment queue, I was looking forward to seeing more of the inked stud. Holy shit! He's a hard fucker, I'd be surprised if Riley didn't leave this bedroom with a dislocated hip.
The guys are making out on a bed. They're still wearing their clothes, but that doesn't last for long. It also doesn't take Riley long to get his mouth on Mickey's cock. And if this video is any indication, Mickey likes it fast and rough. He grabs Riley's head and jackhammers his hard-on into Riley's mouth.
And Mickey is no gentler when it comes to fucking. Cowboy or missionary, Tess gets a brutally hard and fast fuck. But this bottom isn't complaining. Mickey drills Tess until he shoots right up his torso, then Mickey unloads all over Tess' still-hard dick.


text:
Welcome to Debonair Luxury Apartment Homes
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text:
Get yourself off on the right foot. First, organize your supplies; then, organize your search. Target your search in the job market of your choice; then, give yourself the tools that you need in order to break in to that market. Find out what separates bad resumes from resumes that get results. Discover the secrets of drumming up job leads, from researching online to using your own networks or working with a recruiter. After you're in, you'll be ready to shine with Messmer's complete list of the do's and don'ts of giving great interviews; and you'll be confident when the interview ends, knowing that you possess the keys to successfully closing an interview.
Don't wait another day. Find the job you want with Job Hunting For Dummies, 2nd Edition.


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For the first time in more than 60 years, Hawthorn's Lido cinema screen flickered into life Thursday night as the historic building's anticipated overhaul was revealed to the public.
Husband and wife team Eddie and Lindy Tamir, who own and operate Elsternwick's Classic Cinema and the Cameo Cinema in Belgrave, have spent the past five years refurbishing the site into a modern eight-screen cinema, while retaining some of the building's historic elements.
Originally opened as the Glenferrie Theatre in 1912, the first cinema on Glenferrie Road featured 1600 seats and a unique opening roof. But by 1921, competition from the nearby Palace Cinema saw it close its doors and reopen as Glen Palais de Danse - only to be shut down a few years later amid reports of "immorality" on site.
After stints as a mini-golf complex and back to a cinema again in 1939 as the New Glen, by the end of the 50s the big screen had lost its sheen in wake of television and for the next few decades the building was home to a roster of business including dance schools, music halls and a theatre restaurant.
Eddie Tamir had been eyeing off the site for a few years before he bought it, and after "massive" renovations, he and wife Lindy have unveiled what they hope will be a unique addition to Melbourne's cinematic landscape.
The only cinema in mainland Australia to have a permanent roof-top screen attached, the Lido also houses a tiny, 30-capacity jazz bar which will host intimate gigs on Friday and Saturday nights.
Eddie's approach to programming, too, is unconventional.
While he resists the term "arthouse" he says they'll screen a "mix of whatever's good in its own ways for its own audience, be it the tiniest documentary, foreign language films, or local releases limited to us exclusively".
As well as the latest blockbusters, they're screening Monster Fest, late-night horror and cult films, foreign films to cater to the area's international students and a program of Aussie features which, for various reasons, have never found distribution.
"The Australian industry has been a bit of a bloodbath in terms of commercial success and so many films are made but not released," Eddie, himself a film school graduate and one-time producer, says. "So we're going direct to filmmakers to say 'talk to us!' We like to deal with the commercial orphans of Australian cinema."
Even the snack bar is a local affair, with coffee from Hawthorn brewery Axil, Victorian beers and wines and artisan-made sweets.
"We want to be a local cinema, just like you have a local cafe," Eddie says.
This sentiment even extends to the Lido producing its own films in their 8K Radius program, a series of short films directed by Kenny director Clayton Jacobson focusing on local characters who live or work within 8km of the cinema.
"That's about uber-local as you can get."
Australian Film Focus
Includes the Melbourne premiere of Michael Caton and Jacki Weaver's new film Last Cab To Darwin with the cast and crew; Brendan Cowell's directorial debut Ruben Guthrie and The Daughter, starring Sam Neill and Geoffrey Rush.
Monster Fest
The Melbourne premiere of controversial schlock-horror The Human Centipede 3 (and Q and A with director Laurence R Harvey); Texas Chainsaw Massacre 2; Body Melt
Chinese Film Showcase
Includes the latest Chinese blockbuster Hollywood Adventure, romantic drama Gardenia Blossom and rom-com Only You
Swinburne Alumni Retrospective
A series of shorts, animations and documentaries from some of Australia's most influential filmmakers, including Gillian Armstrong, Paul Cox and Michael Leunig, including post-screening interviews and Q & A sessions
8km Radius
Short films directed by Clayton Jacobson, focusing on the "weird and wonderful stories of everyday people living and working in the area".


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Delaware Wind Power Farm Gains Viability Through Major Investor
"The long-awaited, $800 million deal could make Delaware the first state in the nation to build a wind farm off its shores. An array of as many as 70 towering windmills would rise in a tract east of Rehoboth Beach by 2012."
"The pact comes after dozens of public hearings and legislative debates and growing pressure on lawmakers from grassroots citizens groups that backed a shift to clean, locally generated power to meet the state's future electrical needs."
"Now that the contract is in hand, Bluewater and its parent company, the Australian investment firm Babcock and Brown, will try to find other buyers, including other utilities, businesses or governmental entities."
"The company also has a long list of local, state and federal permits to win before it can build -- approvals that will require it to prove the wind farm will comply with laws protecting birds, sea life, shipping lanes and even shipwrecks."


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