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Leigh Hunt

Leigh Hunt Books

Poet

The Indicator

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The Seer

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Essays

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Works

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“In proportion as men were all to resemble each other, and to have faces and manners in common, their self-love was not to be disturbed by any thing in the shape of individuality. A writer might be na tural, but he was to be natural only as far as their sense of nature would go, and this was not a great way. Besides, even when he was natural, he hardly dared to be so in language as well as idea ;- there gradually came up a kind of dress, in which a man’s mind, as well as body, was to clothe itself.”

“Beauty too often sacrifices to fashion. The spirit of fashion is not the beautiful, but the wilful; not the graceful, but the fantastic; not the superior in the abstract, but the superior in the worst of all concretes,-the vulgar.”

“Fishes do not roar; they cannot express any sound of suffering; and therefore the angler chooses to think they do not suffer, more than it is convenient for him to fancy. Now it is a poor sport that depends for its existence on the want of a voice in the sufferer, and of imagination in the sportsman.”

“O scaly, slippery, wet, swift, staring wights, What is 't ye do? what life lead? eh, dull goggles? How do ye vary your vile days and nights? How pass your Sundays? Are ye still but joggles In ceaseless wash? Still nought but gapes and bites, And drinks, and stares, diversified with boggles.”

“The most fascinating women are those that can most enrich the every day moments of existence. In a particular and attaching sense, they are those that can partake our pleasures and our pains in the liveliest and most devoted manner. Beauty is little without this; with it she is triumphant.”

“When Goethe says that in every human condition foes lie in wait for us, "invincible only by cheerfulness and equanimity," he does not mean that we can at all times be really cheerful, or at a moment's notice; but that the endeavor to look at the better side of things will produce the habit, and that this habit is the surest safeguard against the danger of sudden evils.”

“Those who have lost an infant are never, as it were, without an infant child. Their other children grow up to manhood and womanhood, and suffer all the changes of mortality; but this one alone is rendered an immortal child; for death has arrested it with his kindly harshness, and blessed it into an eternal image of youth and innocence.”

“The drama is not a mere copy of nature, not a facsimile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes; and you must read it, as the healthy instinct of audiences almost always does, if the critics will let them alone, with a grain of allowance, and a tendency to go away with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration.”

“The very greatest genius, after all, is not the greatest thing in the world, any more than the greatest city in the world is the country or the sky. It is the concentration of some of its greatest powers, but it is not the greatest diffusion of its might. It is not the habit of its success, the stability of its sereneness.”

“A large bare forehead gives a woman a masculine and defying look. The word "effrontery" comes from it. The hair should be brought over such a forehead as vines are trailed over a wall.”

“Hair is the most delicate and lasting of our materials, and survives us, like love. It is so light, so gentle; so escaping from the idea of death, that, with a lock of hair belonging to a child or friend, we may almost look up to heaven and compare notes with the angelic nature,--may almost say, "I have a piece of thee here not unworthy of thy being now.”

“There is scarcely a single joy or sorrow within the experience of our fellow-creatures which we have not tasted; yet the belief, in the good and beautiful has never forsaken us. It has been medicine to us in sickness, richness in poverty, and the best part of all that ever delighted us in health and success.”

“Large eyes were admired in Greece, where they still prevail. They are the finest of all when they have the internal look, which is not common. The stag or antelope eye of the Orientals is beautiful and lamping, but is accused of looking skittish and indifferent. "The epithet of 'stag-eyed,'" says Lady Wortley Montgu, speaking of a Turkish love-song, "pleases me extremely; and I think it a very lively image of the fire and indifference in his mistress' eye.”

“Little eyes must be good-tempered or they are ruined. They have no other resource. But this will beautify them enough. They are made for laughing, and, should do their duty.”

“We lose in depth of expression when we go to inferior animals for comparisons with human beauty. Homer calls Juno ox-eyed; and the epithet suits well with the eyes of that goddess, because she may be supposed, with all her beauty, to want a certain humanity. Her large eyes look at you with a royal indifference.”

“Nature, at all events, humanly speaking, is manifestly very fond of color; for she has made nothing without it. Her skies are blue; her fields, green; her waters vary with her skies; her animals, vegetables, minerals, are all colored. She paints a great any of them in apparently superfluous hues, as if to show the dullest eye how she loves color.”

“Poetry is the breath of beauty.”