A sovereign social network
powered by Bitcoin

His silence here, with blushes, Paris breaks: “’Tis just, my brother, what your anger speaks: But who like thee can boast a soul sedate, So firmly proof to all the shocks of fate? Thy force, like steel, a temper’d hardness shows, Still edged to wound, and still untired with blows, Like steel, uplifted by some strenuous swain, With falling woods to strew the wasted plain. Thy gifts I praise; nor thou despise the charms With which a lover golden Venus arms; Soft moving speech, and pleasing outward show, No wish can gain them, but the gods bestow. Yet, would’st thou have the proffer’d combat stand, The Greeks and Trojans seat on either hand; Then let a midway space our hosts divide, And, on that stage of war, the cause be tried: By Paris there the Spartan king be fought, For beauteous Helen and the wealth she brought; And who his rival can in arms subdue, His be the fair, and his the treasure too. Thus with a lasting league your toils may cease, And Troy possess her fertile fields in peace; Thus may the Greeks review their native shore, Much famed for generous steeds, for beauty more.”

Dione then: “Thy wrongs with patience bear, And share those griefs inferior powers must share: Unnumber’d woes mankind from us sustain, And men with woes afflict the gods again. The mighty Mars in mortal fetters bound,[149] And lodged in brazen dungeons underground, Full thirteen moons imprison’d roar’d in vain; Otus and Ephialtes held the chain: Perhaps had perish’d had not Hermes’ care Restored the groaning god to upper air. Great Juno’s self has borne her weight of pain, The imperial partner of the heavenly reign; Amphitryon’s son infix’d the deadly dart,[150] And fill’d with anguish her immortal heart. E’en hell’s grim king Alcides’ power confess’d, The shaft found entrance in his iron breast; To Jove’s high palace for a cure he fled, Pierced in his own dominions of the dead; Where Paeon, sprinkling heavenly balm around, Assuaged the glowing pangs, and closed the wound. Rash, impious man! to stain the bless’d abodes, And drench his arrows in the blood of gods!

“Splice, thou mean’st splice hands,” cried Peleg, drawing nearer. “Young man, you’d better ship for a missionary, instead of a fore-mast hand; I never heard a better sermon. Deacon Deuteronomy—why Father Mapple himself couldn’t beat it, and he’s reckoned something. Come aboard, come aboard; never mind about the papers. I say, tell Quohog there—what’s that you call him? tell Quohog to step along. By the great anchor, what a harpoon he’s got there! looks like good stuff that; and he handles it about right. I say, Quohog, or whatever your name is, did you ever stand in the head of a whale-boat? did you ever strike a fish?”

It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions; and certainly Dorian Gray was a subject made to his hand, and seemed to promise rich and fruitful results. His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest. There was no doubt that curiosity had much to do with it, curiosity and the desire for new experiences, yet it was not a simple, but rather a very complex passion. What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the lad himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves.

“Basil, my dear boy, puts everything that is charming in him into his work. The consequence is that he has nothing left for life but his prejudices, his principles, and his common sense. The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize.”