Pablo Neruda Nature Quotes

Of everything I have seen, it's you I want to go on seeing: of everything I've touched, it's your flesh I want to go on touching. I love your orange laughter. I am moved by the sight of you sleeping. What am I to do, love, loved one? I don't know how others love or how people loved in the past. I live, watching you, loving you. Being in love is my nature.

Our love was born outside the walls, in the wind, in the night, in the earth, and that's why the clay and the flower, the mud and the roots know your name.

With which stars do they go on speaking,the rivers that never reach the sea?

You are the trembling of time, that passes between vertical light and darkened sky,

Amor" So many days, oh so many days seeing you so tangible and so close, how do I pay, with what do I pay? The bloodthirsty spring has awakened in the woods. The foxes start from their earths, the serpents drink the dew, and I go with you in the leaves between the pines and the silence, asking myself how and when I will have to pay for my luck. Of everything I have seen, it's you I want to go on seeing: of everything I've touched, it's your flesh I want to go on touching. I love your orange laughter. I am moved by the sight of you sleeping. What am I to do, love, loved one? I don't know how others love or how people loved in the past. I live, watching you, loving you. Being in love is my nature. You please me more each afternoon. Where is she? I keep on asking if your eyes disappear. How long she's taking! I think, and I'm hurt. I feel poor, foolish and sad, and you arrive and you are lightning glancing off the peach trees. That's why I love you and yet not why. There are so many reasons, and yet so few, for love has to be so, involving and general, particular and terrifying, joyful and grieving, flowering like the stars, and measureless as a kiss. That's why I love you and yet not why. There are so many reasons, and yet so few, for love has to be so, involving and general, particular and terrifying, joyful and grieving, flowering like the stars, and measureless as a kiss.

Naked you are blue like the night in Cuba, you have vines and stars in your hair,

I love you as the plant that never blooms but carries in itself the light of hidden flowers; thanks to your love a certain solid fragrence risen from the earth, lives darkly in my body. and: No one can stop the river of your hands, your eyes and their sleepiness, my dearest. You are the trembling of time, which passes between the vertical light and the darkening sky. and: From the stormy archipelagoes I brought my windy accordian, waves of crazy rain, the habitual slowness of natural things: they made up my wild heart.

I move in the university of the waves.

Come see the cherry trees of a water constellation and the round key of the rapid universe, come touch the fire of instantaneous blue, come before its petals are consumed.

Hay una estrella mas abierta que la palabra 'amapola'? Is there a star more wide open than the word 'poppy"?

Oh Earth, Wait for Me Return me, oh sun, to my wild destiny, rain of the ancient wood, bring me back the aroma and the swords that fall from the sky, the solitary peace of pasture and rock, the damp at the river-margins, the smell of the larch tree, the wind alive like a heart beating in the crowded restlessness of the towering araucaria. Earth, give me back your pure gifts, the towers of silence which rose from the solemnity of their roots. I want to go back to being what I have not been, and learn to go back from such deeps that among all natural things I could live or not live; it does not matter to be one stone more, the dark stone, the pure stone which the river bears away.

Of all the stars I admired, drenched in various rivers and mists, I chose only the one I love, Since then I sleep with the night. Of all the waves, one wave and another wave, green sea, green chill, branchings of green, I chose only the one wave, The indivisible wave of your body All the waterdrops, all the roots all the threads of light gathered to me here; they came to me sooner or later I wanted your hair all for myself From all the gaces of my homeland offered I chose only your savage heart.

Y por que el sol es tan mal amigo del caminante en el desierto? Y por que el sol es tan simpatico en el jardin del hospital? And why is the sun such a bad companion to the traveler in the desert? And why is the sun so congenial in the hospital garden?

The genius of the Spanish writer has always flourished through excessive rhetoric, which expresses a fundamental element in our nature and in our culture. If you think of our great writers, all of them are great rhetoricians. Think of Pablo Neruda, for instance, a great poet. It is the exuberance, the excess. Creation is something that appears like a natural phenomena, a kind of transpiration of nature more than an intellectual exercise.

You've asked me what the lobster is weaving there with his golden feet? I reply, the ocean knows this. You say, what is the ascidia waiting for in its transparent bell? What is it waiting for? I tell you it is waiting for time, like you. You ask me whom the Macrocystis alga hugs in its arms? Study, study it, at a certain hour, in a certain sea I know. You question me about the wicked tusk of the narwhal, and I reply by describing how the sea unicorn with the harpoon in it dies. You enquire about the kingfisher's feathers, which tremble in the pure springs of the southern tides? Or you've found in the cards a new question touching on the crystal architecture of the sea anemone, and you'll deal that to me now? You want to understand the electric nature of the ocean spines? The armored stalactite that breaks as it walks? The hook of the angler fish, the music stretched out in the deep places like a thread in the water? I want to tell you the ocean knows this, that life in its jewel boxes is endless as the sand, impossible to count, pure, and among the blood-colored grapes time has made the petal hard and shiny, made the jellyfish full of light and untied its knot, letting its musical threads fall from a horn of plenty made of infinite mother-of-pearl. I am nothing but the empty net which has gone on ahead of human eyes, dead in those darknesses, of fingers accustomed to the triangle, longitudes on the timid globe of an orange. I walked around as you do, investigating the endless star, and in my net, during the night, I woke up naked, the only thing caught, a fish trapped inside the wind.

Ode to a Cluster of Violets Crisp cluster plunged in shadow. Drops of violet water and raw sunlight floated up with your scent. A fresh subterranean beauty climbed up from your buds thrilling my eyes and my life. One at a time, flowers that stretched forward silvery stalks, creeping closer to an obscure light shoot by shoot in the shadows, till they crowned the mysterious mass with an intense weight of perfume and together formed a single star with a far-off scent and a purple center. Poignant cluster intimate scent of nature, you resemble a wave, or a head of hair, or the gaze of a ruined water nymph sunk in the depths. But up close, in your fragrance’s blue brazenness, you exhale the earth, an earthly flower, an earthen smell and your ultraviolet gleam in volcanoes’ faraway fires. Into your loveliness I sink a weathered face, a face that dust has often abused. You deliver something out of the soil. It isn’t simply perfume, nor simply the perfect cry of your entire color, no: it’s a word sprinkled with dew, a flowering wetness with roots. Fragile cluster of starry violets, tiny, mysterious planet of marine phosphorescence, nocturnal bouquet nestled in green leaves: the truth is there is no blue word to express you. Better than any word is the pulse of your scent. Pablo Neruda, Odes to Common Things. (Bulfinch; Bilingual edition May 1, 1994) Originally published 1961.

If you place two living heart cells from different people in a Petrie dish, they will in time find and maintain a third and common beat. —MOLLY VASS This biological fact holds the secret of all relationship. It is cellular proof that beneath any resistance we might pose and beyond all our attempts that fall short, there is in the very nature of life itself some essential joining force. This inborn ability to find and enliven a common beat is the miracle of love. This force is what makes compassion possible, even probable. For if two cells can find the common pulse beneath everything, how much more can full hearts feel when all excuses fall away? This drive toward a common beat is the force beneath curiosity and passion. It is what makes strangers talk to strangers, despite the discomfort. It is how we risk new knowledge. For being still enough, long enough, next to anything living, we find a way to sing the one voiceless song. Yet we often tire ourselves by fighting how our hearts want to join, seldom realizing that both strength and peace come from our hearts beating in unison with all that is alive. It feels incredibly uplifting that without even knowing each other, there exists a common beat between all hearts, just waiting to be felt. It brings to mind the time that the great poet Pablo Neruda, near the end of his life, stopped while traveling at the Lota coal mine in rural Chile. He stood there stunned, as a miner, rough and blackened by his work inside the earth, strode straight for Neruda, embraced him, and said, “I have known you a long time, my brother.” Perhaps this is the secret—that every time we dare to voice what beats within, we invite some other cell of heart to find what lives between us and sing.

FEBRUARY 2 Two Heart Cells Beating If you place two living heart cells from different people in a Petrie dish, they will in time find and maintain a third and common beat. —MOLLY VASS This biological fact holds the secret of all relationship. It is cellular proof that beneath any resistance we might pose and beyond all our attempts that fall short, there is in the very nature of life itself some essential joining force. This inborn ability to find and enliven a common beat is the miracle of love. This force is what makes compassion possible, even probable. For if two cells can find the common pulse beneath everything, how much more can full hearts feel when all excuses fall away? This drive toward a common beat is the force beneath curiosity and passion. It is what makes strangers talk to strangers, despite the discomfort. It is how we risk new knowledge. For being still enough, long enough, next to anything living, we find a way to sing the one voiceless song. Yet we often tire ourselves by fighting how our hearts want to join, seldom realizing that both strength and peace come from our hearts beating in unison with all that is alive. It feels incredibly uplifting that without even knowing each other, there exists a common beat between all hearts, just waiting to be felt. It brings to mind the time that the great poet Pablo Neruda, near the end of his life, stopped while traveling at the Lota coal mine in rural Chile. He stood there stunned, as a miner, rough and blackened by his work inside the earth, strode straight for Neruda, embraced him, and said, “I have known you a long time, my brother.” Perhaps this is the secret—that every time we dare to voice what beats within, we invite some other cell of heart to find what lives between us and sing.

Dead in front of me catafalqued king my own ocean; once sappy as a sprung fir in the green turmoil, once seed to sea-quake, tidal wave, now simply dead remains; in the whole market yours was the only shape left with purpose or direction in this jumbled ruin of nature; you are a solitary man of war among these frail vegetables, your flanks and prow black and slippery as if you were still a well-oiled ship of the wind, the only true machine of the sea: unflawed, undefiled, navigating now the waters of death