For this reason poets, and all makers of language having the ‘god-given power to tell of what they suffer’ [Goethe, Marienbader Elegie ], fulfil a far higher function than that of giving noble and beautiful expression to their experiences and thereby making them recognisable to the reader, by reference to his own past experience of this kind. For by creating new forms of expression, the poets soar above the prevailing network of ideas in which our experience is confined, as it were, by ordinary language; they enable the rest of us to see , for the first time, in our own experience, something which may answer to these new and richer forms of expression, and by so doing they actually extend the scope of our possible self-awareness. They effect a real enlargement of the kingdom of the mind and make new discoveries, as it were, within that kingdom. It is they who open up new branches and channels in our apprehension of the stream and thereby show us for the first time what we are experiencing. That is indeed the mission of all true art: not to reproduce what is already given (which would be superfluous), nor to create something in the pure play of subjective fancy (which can only be transitory and must necessarily be a matter of complete indifference to other people), but to press forward into the whole of the external world and the soul, to see and communicate those objective realities within it which rule and convention have hitherto concealed. The history of art may be seen, therefore, as a series of expeditions against the intuitable world, within and without, to subdue it for our comprehension; and that for a kind of comprehension which no science could ever provide. An emotion, for example, which everyone can now perceive in himself, must once have been wrested by some ‘poet’ from the fearful inarticulacy of our inner life for this clear perception of it to be possible: just as in commerce things (such as tea, coffee, pepper, salt, etc.), which were once luxuries, are nowadays articles of everyday use in general supply. (The Nature of Sympathy, p. 252-53. Quoted in McG, The Master and His Emissary, 341-42)
See also Originality and Novelty.