Quote by Henry Wadsworth Longfellow

Therefore trust to thy heart, and to what the world calls illusions.


Therefore trust to thy heart, and to what the world calls il

Summary

This quote suggests that one should rely on their own intuition and beliefs, rather than what others perceive as mere illusions. It highlights the importance of trusting one's own instincts and disregarding the opinions of society or external influences. It implies that one should have faith in their own perceptions and trust in the things that bring them happiness or fulfillment, even if they may be labeled as "illusions" by the world. Ultimately, the quote encourages individuals to pursue their own truth and authenticity.

Topics

Illusion
By Henry Wadsworth Longfellow
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It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

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