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Poetry Quotes

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Poetry Quotes

“The great charm of poetry consists in lively pictures of the sublime passions, magnanimity, courage, disdain of fortune; or thoseof the tender affections, love and friendship; which warm the heart, and diffuse over it similar sentiments and emotions.”

“It is not the poet's business to save man's soul but to make it worth saving . . . However, few poets have written with a clear theory of art for art's sake, it is by that theory alone that their work has been, or can be, judged; -and rightly so if we remember that art embraces all life and all humanity, and sees in the temporary and fleeting doctrines of conservative or revolutionary only the human grandeur or passion that inspires them.”

“Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.”

“Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent. When she came to my bed and begged me with sighs not to tempt her towards passion nor actions unwise, I told her I’d spare her and kissed her closed eyes, then unbraided her body of its clothing disguise. While our bodies were nude bathed in candlelight fine I devoured her mouth, tender lips divine; and I drank through her thighs her feminine wine. Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.”

“I kiss your knees that self-communing prayers chastize, I kiss your feet that would appease the open sea; I wish to plunge my head between your vital thighs and in your hair-shirt weep for my iniquity; there, my dear saint, in that oblivion of the dim Chasm and the Boundless, rapt with scents vibrant and fresh, when I have finished softly chanting my long hymn, I shall assuage my torment on your wholesome flesh.”

“Our lips were for each other and our eyes were full of dreams. We knew nothing of travel and we knew nothing of loss. Ours was a world of eternal spring, until the summer came.”

“Ô, Muse of the Heart’s Passion, let me relive my Love’s memory, to remember her body, so brave and so free, and the sound of my Dreameress singing to me, and the scent of my Dreameress sleeping by me, Ô, sing, sweet Muse, my soliloquy!”

“Let us remember to always rediscover one another because we are forever changing.”

“All I need to do is place my pen against paper and your love writes for me.”

“Love, they said, burns you and builds you. But with you, there’s no ash. Just light.”

“What is this love that makes me see beauty, and makes every beautiful thing bring you back to me? What is this love that makes me declare 'I love you' even though I uttered it only a moment ago? What is this love that keeps growing even when my chest is sore and it hurts to love you any more? Tell me: How am I to find what this love is when it was the one to find you, me, this verse, and this universe?”

“Like a pair of old slippers, I feel comfort and warmth as I slip into you. No, that is too crude. Like the match to the wick, I ignite when we touch. My counterpart and life's purpose. Yes, as though I've known you my whole life. Every scar, every failure has become an affirmation of what should be: You. Yes, as though I've loved you my whole life.”

“There is a third form of possession or madness, of which the Muses are the source. This seizes a tender, virgin soul and stimulates it to rapt passionate expression, especially in lyric poetry, glorifying the countless mighty deeds of ancient times for the instruction of posterity. But if any man comes to the gates of poetry without the madness of the Muses, persuaded that skill alone will make him a good poet, then shall he and his works of sanity with him be brought to nought by the poetry of madness, and behold, their place is nowhere to be found.”

“But we, when moved by deep feeling, evaporate; we breathe ourselves out and away; from moment to moment our emotion grows fainter, like a perfume. Though someone may tell us: “Yes, you’ve entered my bloodstream, the room, the whole springtime is filled with you . . . " — what does it matter? they can’t contain us, we vanish inside them and around them. (Denn wir, wo wir fühlen, verflüchtigen; ach wir atmen uns aus und dahin; von Holzglut zu Holzglut geben wir schwachern Geruch. Da sagt uns wohl einer: ja, du gehst mir ins Blut, dieses Zimmer, der Frühling füllt sich mit dir . . . Was hilfts, er kann uns nicht halten, wir schwinden inihm und um ihn.)”

“[H]e initially conceived of Olivier as a man of the greatest promise destroyed by a fatal flaw, the unreasoning passion for a woman dissolving into violence, desperately weakening everything he tried to do. For how could learning and poetry be defended when it produced such dreadful results and was advanced by such imperfect creatures? At least Julien did not see the desperate fate of the ruined lover as a nineteenth-century novelist or a poet might have done, recasting the tale to create some appealing romantic hero, dashed to pieces against the unyielding society that produced him. Rather, his initial opinion -- held almost to the last -- was of Olivier as a failure, ruined by a terible weakness.”