Poetic Romantic Quotes

Maybe we've lived a thousand lives before this one and in each of them we've found each other... I know I've spent each life before this one searching for you. Not someone like you but you, for your soul and mine must always come together.

Find meaning. Distinguish melancholy from sadness. Go out for a walk. It doesn’t have to be a romantic walk in the park, spring at its most spectacular moment, flowers and smells and outstanding poetical imagery smoothly transferring you into another world. It doesn’t have to be a walk during which you’ll have multiple life epiphanies and discover meanings no other brain ever managed to encounter. Do not be afraid of spending quality time by yourself. Find meaning or don’t find meaning but 'steal' some time and give it freely and exclusively to your own self. Opt for privacy and solitude. That doesn’t make you antisocial or cause you to reject the rest of the world. But you need to breathe. And you need to be.

Kept dreaming of this spot she had on her neck, this tiny country. I wanted to visit, to paint a picture of what I found there, a wall with a road map of her skin.

Tell me..how do you stand there? filling the doorway....of my life.

And wilderness is paradise now.

You hung around the tattered edges of my soul, that's where you preferred to be...

Sometimes I believe that love dies but hope springs eternal. Sometimes I believe that hope dies but love springs eternal. Sometimes I believe that sex plus guilt equals love, and sometimes I believe that sex plus guilt equals good sex. Sometimes I believe that love is as natural as the tides, and sometimes I believe that love is an act of will. Sometimes I believe that some people are better at love than others, and sometimes I believe that everyone is faking it. Sometimes I believe that love is essential, and sometimes I believe that only reason love is essential is that otherwise you spend all your time looking for it.

Shake those stars from your hair, pretty Moonchild. It's time to dance with the noonday sun!

Love can be such a mysterious muse and seductress... spinning her magical web of stardust and emotional euphoria. True love sang her siren song and we wrapped that song around us like the sweetest melody.

Love can be so hauntingly beautiful, waking up past selves that have been wandering aimlessly through the corridors of our soul, for far too long. When someone else can take us from the ghost-town of our inner-selves, to exciting new landscapes, it's worth the risk, just to feel reborn.

With skin dressed only in moonlight, she beckons you to her secret garden.

when whispered what an exquisite song, it makes- your name.

2 to 1 2 hearts 1 beat 2 lips will meet 2 birds 1 stone 2 never b alone 2 wills 1 goal 2 haves 1 whole 2 be in love 2 be as One *** ©Clarissa O. Clemens The Poetic Diary of Love and Change - Volume 1

If I could describe myself, I'd say that I am a poetic gerd. (A geek and nerd combo) I love Shakespeare and romance, but sci-fi and action have a big slice of my heart. When I meet a man who can quote some Hitchcock out of thin air, do a perfect ''Timey Whimey'' impression, play me some classic rock when I'm sad and can give a 'Gone with the Wind' kiss, I will have my soul mate.

Descobri a minha estrela. Ela é bela e graciosa. Elegante e divina. O meu riso no inverno. Ela é corajosa e forte. Arrojada e tentadora. Diferente de qualquer outra no universo e não posso tocar-lhe. Nem me atrevo a tentar.

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

I wish to be content and loved, yet I find it poetic, even romantic at times, to be sad and alone. Truly, despair adds intrigue to my otherwise dull existence.

Pinot, the most romantic of wines, with so voluptuous a perfume, so sweet an edge, and so powerful a punch that, like falling in love, they make the blood run hot and the soul wax embarrassingly poetic.

The creation myths of the various peoples and religions of the world pale when compared to the glory of the big bang. The three-billion-year history of life’s evolution from self-reproducing molecules to civilization contains twists and romances that cannot be matched by any myth or epic. There is also the poetic vision of space and time in relativity, the weird subatomic world of quantum mechanics … these wondrous stories of science all possess an irresistible attraction. Through the medium of science fiction, I seek only to create my own worlds using the power of imagination, and to make known the poetry of Nature in those worlds, to tell the romantic legends that have unfolded between Man and Universe.

There is no single thing... that is so cut and dried that one cannot attend to its secret whisper which says 'I am more than just my appearance'. If each object quivers with readiness to imply something other than itself, if each perception is a word in a poem dense with connotations, then the poet's selection of any given subject of speculation will become... a means of attuning himself to the rhythms and harmonies of reality at large. ... The notion of a network of correspondence is not an outmoded Romantic illusion: it represents a crucial intuition...

This time, there's nothing gentle about our kiss. It's all passion and wet kisses and curious hands.

So many writers make dope glamorous; a form of romantic transgression, or world-weariness, or poetic sensitivity, or hipness. Mainly it's the stuff of ritualistic communion among inarticulate bores.

Things don't always end up the way we planned but it doesn't mean the plan wasn't magical while it lasted.

A great deal of our modern trouble has come from mixing up romantic love, which is a poetic and anarchic impulse, with marriage, which is a social institution.

He appreciated all beautiful things. As she stood before him poised, scrutinizing every inch of his face, liable to strike him, he thought she was the most incredible thing he had seen in his life. She didn't step away from fear, she walked up to it.

companies trying to misrepresent the product they sell by playing with our cognitive biases, our unconscious associations, and that’s sneaky. The latter is done by, say, showing a poetic picture of a sunset with a cowboy smoking and forcing an association between great romantic moments and some given product that, logically, has no possible connection to it. You seek a romantic moment and what you get is cancer.

Now we lie here, a decapitated generation, our child-like names vanishing on tombstones, can't you see? Once there was Rock 'n' Roll, freedom of speech, baroque picnics on miraculous boats, there was resurrection on romantic lakes, there were melting kisses under golden trees, there was ticking laughter, clicking metaphors, there were wine and poetic sex, beauty...

if passion it can properly be called, was of the most thoroughly romantic, shadowy, and imaginative character. It was born of the hour, and of the youthful necessity to love. It had no peculiar regard to the person, or to the character, or to the reciprocating affection... Any maiden, not immediately and positively repulsive,

That life is simply a collection of little lives, each lived one day at a time. That each day should be spent finding beauty in flowers and poetry and talking to animals. That a day spent with dreaming and sunsets and refreshing breezes cannot be bettered. But most of all, I learned that life is about sitting on benches next to ancient creeks with my hand on her knee and sometimes, on good days, for falling in love.

People today will have you believing life is a blank slate upon which you can write anything at all--this is poetic, even romantic. Unfortunately, it's also a lie, because life exists in, is bound by, shaped by, controlled by, and functions within a construct. Attempt to function outside that construct, or bend it to our will, or remove it completely, and you throw all of society into chaos. We're seeing that now. Like it or not, birds don't fly upside down...and neither can we.

I know, I know…there’s something cliché about that. The heroine initially wanting to clobber a protagonist male, but later realizing that he’s grown on her and she actually really likes him. Technically, I’m not supposed to find that appealing. But maybe real life is a lot more cliché than anyone wants to admit. Or maybe there’s just a fine, subjective line between the cliché and the poetic.

His rest was thing and lit by the crudely poetic dreams only adolescent boys have, dreams where sexual attraction and romantic love come together and resonate more powerfully than they ever will again.

There is nothing so seductive to a girl as to be loved by a poetic-depressive type. And if she is vain enough to deceive herself into thinking that she loves him faithfully by clinging to him instead of giving him up, then her task will be easy. She will enjoy both the distinction and the good conscience of being faithful, and at the same time the most finely distilled romantic love. God save everyone from such faithfulness!

He is in love with the land that is always over The next hill and the next, with the bird that is never, Caught, with the room beyond the looking glass. He likes the half-hid, the half-heard, the half-lit, The man in the fog, the road without an ending …

Victor-Marie Hugo (26 February 1802 — 22 May 1885) was a French poet, novelist, playwright, essayist, visual artist, statesman, human rights campaigner, and perhaps the most influential exponent of the Romantic movement in France. In France, Hugo's literary reputation rests on his poetic and dramatic output. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. In the English-speaking world his best-known works are often the novels Les Misérables and Notre-Dame de Paris (sometimes translated into English as The Hunchback of Notre-Dame). Though extremely conservative in his youth, Hugo moved to the political left as the decades passed; he became a passionate supporter of republicanism, and his work touches upon most of the political and social issues and artistic trends of his time. Source: Wikipedia

Thrift is the really romantic thing; economy is more romantic than extravagance... But the thing is true; economy, properly understood, is the more poetic. Thrift is poetic because it is creative; waste is unpoetic because it is waste. It is prosaic to throw money away, because it is prosaic to throw anything away; it is negative; it is a confession of indifference, that is, it is a confession of failure. The most prosaic thing about the house is the dustbin, and the one great objection to the new fastidious and aesthetic homestead is simply that in such a moral menage the dustbin must be bigger than the house. If a man could undertake to make use of all things in his dustbin he would be a broader genius than Shakespeare. When science began to use by-products; when science found that colors could be made out of coaltar, she made her greatest and perhaps her only claim on the real respect of the human soul. Now the aim of the good woman is to use the by-products, or, in other words, to rummage in the dustbin.

. . . I suppose one starts out, as a child, being romantic and dreaming of adventure. Poetic. Then reality comes along, and with it, a whole lot of prose.

Now he must put into practice all his fine poetic thoughts about romantic love.

My words, I write them It's easier than saying My romanticized pain Is less painful when written I love you, I do I hope this reaches you.

You be my poetry, I'll be your pages.

This development is possibly related to the fact that so much of "value" has been absorbed by technology itself. It is "good" to electrify a primitive area. Civilization and even morality are implicit in technological transformation...New techniques are in themselves bien pensant and represent not only rationality but benevolence...Romantic individuals (a mass of them by now) accuse this mass civilization of obstructing their attainment of beauty, nobility, integrity, intensity. I do not want to sneer at the term Romantic. Romanticism guarded the "inspired condition," preserved the poetic, philosophical, and religious teachings...during the greatest and most rapid of transformations, the most accelerated phase of modern scientific and technical transformation.

The Romantic journey was usually a solitary one. Although the Romantic poets were closely connected with one another, and some collaborated in their work, they each had a strong individual vision. Romantic poets could not continue their quests for long or sustain their vision into later life. The power of the imagination and of inspiration did not last. Whereas earlier poets had patrons who financed their writing, the tradition of patronage was not extensive in the Romantic period and poets often lacked financial and other support. Keats, Shelley and Byron all died in solitary exile from England at a young age, their work left incomplete, non-conformists to the end. This coincides with the characteristic Romantic images of the solitary heroic individual, the spiritual outcast 'alone, alone, all, all alone' like Coleridge's Ancient Mariner and John Clare's 'I'; like Shelley's Alastor, Keats's Endymion, or Byron's Manfred, who reached beyond the normal social codes and normal human limits so that 'his aspirations/Have been beyond the dwellers of the earth'. Wordsworth, who lived to be an old man, wrote poems throughout his life in which his poetic vision is stimulated by a single figure or object set against a natural background. Even his projected final masterpiece was entitled The Recluse. The solitary journey of the Romantic poet was taken up by many Victorian and twentieth-century poets, becoming almost an emblem of the individual's search for identity in an ever more confused and confusing world.

Romantic love is deeper than reality; it is more complex, intricate, fragile, and ethereal than reality. Reality does not inspire the exhilaration and ecstasy of love. Imaginative persons whom believe in love experience the exhalation and poetic frenzy of rapture.

When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.

I have tried to tell him in a dozen different ways that I am only six inches tall. I've told him I am as tall as his heart, that he could hold all of me in his hand, that I am shorter than I appear. Every time, he's acted as though I'm saying something romantic or poetic.

Like a kite, carried by the wind, he followed her into the fluffy white clouds of her imagination. He didn't think her silly for living in the sky, but rather, he marveled at the wondrous life she had created on the outskirts of reality. He knew her love would elevate him to new emotional heights.

Lewes was waiting, always Lewes, making profound and idiotic comments on everything, and wanting to sit up half the night and reason. Reason! He was sick of reason. He wanted some one he could be romantic with, and sentimental with, and poetic, and—yes, religious with, if he felt like it, without having to feel ashamed.

To the traveller imbued with a feeling for the historical and poetical, so inseparately interwined in the annals of romantic Spain, the Alhambra is a much an object of devotion as is the Caaba to all true Moslems. How many legends and traditions, true and fabulous, - how many songs and ballards, Arabian and Spanish, of love and war and chivalry, are associated with this Oriental pile!

I knew that people said love should be unconditional, given like a dog gives to its master, but what Being could give that way? What could love though it had been kicked and beaten? What could go kissing the hand of its tormentor with upturned eyes? I didn't know. Perhaps Jesus, perhaps the Dalai Lama, but I couldn't. I had a condition, the way life has conditions to live, the body must have certain conditions to grow, and Cristien had to meet mine or I could not live. I could not.

Heilner went on: "Yes, things were certainly different then. Who knows anything about things like that around here? All these bores and cowards who grind away and work their fingers to the bone and don't realize that there's something higher than the Hebrew alphabet. You're no different." Hans kept silent. This Heilner fellow certainly was a strange one. A romantic, a poet. As everyone knew, he worked hardly at all and still he knew quite a bit, he knew how to give good answers, and at the same time despised his learning. “We're reading Homer," he went on in the same mocking tone, "as though the Odyssey were a cookbook. Two verses an hour and then the whole thing is masticated word by word and inspected until you're ready to throw up. But at the end of the hour the professor will say: 'Notice how nicely the poet has turned this phrase! This has afforded you an insight into the secret of poetic creativity!' Just like a little icing around the aorists and particles so you won't choke on them completely. I don't have any use for that kind of Homer. Anyway, what does all this old Greek stuff matter to us? If one of us ever tried to live a little like a Greek, he'd be out on his tail. And our room is called 'Hellas'! Pure mockery! Why isn't it called 'wastepaper basket' or 'monkey cage' or 'sweatshop'? All this classical stuff is a big fake.

As a science fiction writer who began as a fan, I do not use my fiction as a disguised way to criticize the reality of the present. I feel that the greatest appeal of science fiction is the creation of numerous imaginary worlds outside of reality. I’ve always felt that the greatest and most beautiful stories in the history of humanity were not sung by wandering bards or written by playwrights and novelists, but told by science. The stories of science are far more magnificent, grand, involved, profound, thrilling, strange, terrifying, mysterious, and even emotional, compared to the stories told by literature. Only, these wonderful stories are locked in cold equations that most do not know how to read. The creation myths of the various peoples and religions of the world pale when compared to the glory of the big bang. The three-billion-year history of life’s evolution from self-reproducing molecules to civilization contains twists and romances that cannot be matched by any myth or epic. There is also the poetic vision of space and time in relativity, the weird subatomic world of quantum mechanics … these wondrous stories of science all possess an irresistible attraction. Through the medium of science fiction, I seek only to create my own worlds using the power of imagination, and to make known the poetry of Nature in those worlds, to tell the romantic legends that have unfolded between Man and Universe.

Mrs. Flanigan made this for you and dropped it off earlier. So pretty, wouldn't you agree?"... "White roses - the bride's flower," Mrs. Norton said with a lilt in her voice. "For unity, purity, and a love stronger than death." She touched the edge of a blossom. "And, in addition, you have chrysanthemums for fidelity, optimism, joy, and long life, with the color white standing for truth and loyal love." As if caught in a spell, Grace stared at the flowers, a lump forming in her throat, the words echoing in her mind... Joy, truth, fidelity, a love stronger than death. Mrs. Flanigan chuckled. "Mrs. Norton, you make the bouquet sound so poetic. I'm afraid I can't take credit for such a romantic arrangement. I chose the only white flowers still blooming in my garden.

In terms of literary history, the publication of Lyrical Ballads in 1798 is seen as a landmark. The volume contains many of the best-known Romantic poems. The second edition in 1800 contained a Preface in which Wordsworth discusses the theories of poetry which were to be so influential on many of his and Coleridge's contemporaries. The Preface represents a poetic manifesto which is very much in the spirit of the age. The movement towards greater freedom and democracy in political and social affairs is paralleled by poetry which sought to overturn the existing regime and establish a new, more 'democratic' poetic order. To do this, the writers used 'the real language of men' (Preface to Lyrical Ballads) and even, in the case of Byron and Shelley, got directly involved in political activities themselves. The Romantic age in literature is often contrasted with the Classical or Augustan age which preceded it. The comparison is valuable, for it is not simply two different attitudes to literature which are being compared but two different ways of seeing and experiencing life. The Classical or Augustan age of the early and mid-eighteenth century stressed the importance of reason and order. Strong feelings and flights of the imagination had to be controlled (although they were obviously found widely, especially in poetry). The swift improvements in medicine, economics, science and engineering, together with rapid developments in both agricultural and industrial technology, suggested human progress on a grand scale. At the centre of these advances towards a perfect society was mankind, and it must have seemed that everything was within man's grasp if his baser, bestial instincts could be controlled. The Classical temperament trusts reason, intellect, and the head. The Romantic temperament prefers feelings, intuition, and the heart.

Of all the works by Victor Hugo the poetic generation of 1880 preferred above all the Chansons des Rues et des Bois ('Songs of the Streets and Woods') and the late poems such as Ce que dit Ia Bouche d'Ombre ('What says the mouth of shadow'), written during a period of intense spiritualism. Quite apart from drawings done during seances, for the most part caricatures, hob-goblins and ghouls, the graphic work of Hugo is that of a visionary. Wood engravers beautifully reproduced these visions as illustrations for Le Rhin ('The Rhine') or Les Travailleurs de la Mer ('The Toilers of the Sea'). Drawn beside cursed romantic castles and storm-tossed lighthouses, ink blots become angels or skeletons, accidental stains become souls or flowers, ambiguities and metamorphoses provide prodigious leaven for the imagination: 'The magnificent imagination which flows through the drawings of Victor Hugo like the mystery in the sky' (Baudelaire).

This popular ideology contends that the religious experience is tranquil and neatly ordered, tender and delicate; it is an enchanted stream for embittered souls and still waters for troubled spirits. The person “who comes in from the field, weary” (Gen. 25:29), from the battlefield and campaigns of life, from the secular domain which is filled with doubts and fears, contradictions and refutations, clings to religion as does a baby to its mother and finds in her lap “a shelter for his head, the nest of his forsaken prayers” and there is comforted for his disappointments and tribulations. This Rousseauian ideology left its stamp on the entire Romantic movement from the beginning of its growth until its final (tragic!) manifestations in the consciousness of contemporary man. Therefore, the representatives of religious communities are inclined to portray religion, in a wealth of colors that dazzle the eye, as a poetic Arcadia, a realm of simplicity, wholeness, and tranquillity. This ideology is intrinsically false and deceptive. That religious consciousness in man’s experience, which is most profound and most elevated, which penetrates to the very depths and ascends to the very heights, is not that simple and comfortable. On the contrary, it is exceptionally complex, rigorous, and tortuous. Where you find its complexity, there you find its greatness. The consciousness of homo religiosis flings bitter accusations against itself and immediately is filled with regret, judges its desires and yearnings with excessive severity, and at the same time steeps itself in them, casts derogatory aspersions on its own attributes, flails away at them, but also subjugates itself to them. It is in a condition of spiritual crisis, of psychic ascent and descent, of contradiction arising from affirmation and negation, self-abnegation and self-appreciation. Religion is not, at the outset, a refuge of grace and mercy for the despondent and desperate, an enchanted stream for crushed spirits, but a raging clamorous torrent of man’s consciousness with all its crises, pangs, and torments.

The emphasis on shifting essences, uncertainty, and fiercely contrasting opposite states was, of course, neither new nor unique to Byron. He and the other Romantic poets, however, took the ideas and emotions to a particularly intense extreme. Shelley's belief that poetry "marries exultation and horror, grief and pleasure, eternity and change," and that it "subdues to union, under its light yoke, all irreconcilable things," was in sympathy not only with the views of Byron but those of Keats as well. "Negative capability," wrote Keats, exists "when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching out after fact & reason." The "poetical Character," he said: has no self-it is every thing and nothing-It has no character-it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated-It has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philosopher, delights the camelion Poet. It does no harm from its relish of the dark side of things any more than from its taste for the bright one; because they both end in speculation.

To the Greeks this problem of the conditions of poetic production, and the places occupied by either spontaneity or self-consciousness in any artistic work, had a peculiar fascination. We find it in the mysticism of Plato and in the rationalism of Aristotle. We find it later in the Italian Renaissance agitating the minds of such men as Leonardo da Vinci. Schiller tried to adjust the balance between form and feeling, and Goethe to estimate the position of self-consciousness in art. Wordsworth’s definition of poetry as ‘emotion remembered in tranquillity’ may be taken as an analysis of one of the stages through which all imaginative work has to pass; and in Keats’s longing to be ‘able to compose without this fever’ (I quote from one of his letters), his desire to substitute for poetic ardour ‘a more thoughtful and quiet power,’ we may discern the most important moment in the evolution of that artistic life. The question made an early and strange appearance in your literature too; and I need not remind you how deeply the young poets of the French romantic movement were excited and stirred by Edgar Allan Poe’s analysis of the workings of his own imagination in the creating of that supreme imaginative work which we know by the name of THE RAVEN.

Human rights, dissidence, antiracism, S0S-this, S0S-that: these are soft, easy, post coitum historicum ideologies, 'after-the-orgy' ideologies for an easy-going generation which has known neither hard ideologies nor radical philosophies. The ideology of a generation which is neo-sentimental in its politics too, which has rediscovered altruism, conviviality, international charity and the individual bleeding heart. Emotional outpourings, solidarity, cosmopolitan emotiveness, multi-media pathos: all soft values harshly condemned by the Nietzschean, Marxo-Freudian age (but also the age of Rimbaud, Jarry and the Situationists). A new generation, that of the spoilt children of the crisis, whereas the preceding one was that of the accursed children of history. These romantic, worldly young people, imperious and sentimental, are refinding the poetic prose of the heart and, at the same time, the path of business. For they are the contemporaries of the new entrepreneurs and they are themselves wonderful media animals. Transcendental, P.R. idealism. With an eye for money, changing fashions, high-powered careers - all things scorned by the hard generations. A soft immorality, a low-grade sensuality. A soft ambition too: that of a generation which has already been successful in everything, which has everything going for it, which practises solidarity with ease, which no longer bears the stigmata of the curse of class. They are the European Yuppies.

Dr. Sherman VanMeter has made a career of unpacking the densest areas of scientific endeavor in accessible—if not polite—terms. You’ve written books on everything from astrophysics to zoology. How are you able to achieve expertise in so many disparate fields? There’s a perception that scientific disciplines are separate countries, when in fact science is a universal passport. It’s about exploring and thinking critically, not memorization. A question mark, not a period. Can you give me an example? Sure. Kids learn about the solar system by memorizing the names of planets. That’s a period. It’s also scientifically useless, because names have no value. The question mark would be to say instead, “There are hundreds of thousands of sizable bodies orbiting the sun. Which ones are exceptional? What makes them so? Are there similarities? What do they reveal?” But how do you teach a child to grasp that complexity? You teach them to grasp the style of thinking. There are no answers, only questions that shape your understanding, and which in turn reveal more questions. Sounds more like mysticism than science. How do you draw the line? That’s where the critical thinking comes in. I can see how that applies to the categorization of solar objects. But what about more abstract questions? It works there too. Take love, for example. Artists would tell you that love is a mysterious force. Priests claim it’s a manifestation of the divine. Biochemists, on the other hand, will tell you that love is a feedback loop of dopamine, testosterone, phenylethylamine, norepinephrine, and feel-my-pee-pee. The difference is, we can show our work. So you’re not a romantic, then? We’re who we are as a species because of evolution. And at the essence, evolution is the steady production of increasingly efficient killing machines. Isn’t it more accurate to say “surviving machines”? The two go hand in hand. But the killing is the prime mover; without that, the surviving doesn’t come into play. Kind of a cold way to look at the world, isn’t it? No, it’s actually an optimistic one. There’s a quote I love from the anthropologist Robert Ardrey: “We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen.” You used that as the epigraph to your new book, God Is an Abnorm. But I noticed you left out the last line, “We are known among the stars by our poems, not our corpses.” Why? That’s where Ardrey’s poetic license gets the better of his science, which is a perilous mistake. We aren’t “known among the stars” at all. The sun isn’t pondering human nature, the galaxy isn’t sitting in judgment. The universe doesn’t care about us. We’ve evolved into what we are because humanity’s current model survived and previous iterations didn’t. Simple as that. Why is a little artistic enthusiasm a perilous mistake? Because artists are more dangerous than murderers. The most prolific serial killer might have dozens of victims, but poets can lay low entire generations.

Put yourself in the way of grace,' says a friend of ours, who is a monk, and a bishop; and he smiles his floating and shining smile. And truly, can there be a subject of more interest to each of us than whether or not grace exists, and the soul? And, consequent upon the existence of the soul, a whole landscape of incorruptible forces, perhaps even a source, an almost palpably suggested second universe? A world that is incomprehensible through reason? To believe in the soul---to believe in it exactly as much and as hardily as one believes in a mountain, say, or a fingernail, which is ever in view---imagine the consequences! How far-reaching, and thoroughly wonderful! For everything, by such a belief, would be charged, and changed. You wake in the morning, the soul exists, your mouth sings it, your mind accepts it. And the perceived, tactile world is, upon the instant, only half the world! How easily I travel, about halfway, through such a scenario. I believe in the soul---in mine, and yours, and the blue-jay's, and the pilot whale's. I believe each goldfinch flying away over the coarse ragweed has a soul, and the ragweed too, plant by plant, and the tiny stones in the earth below, and the grains of earth as well. Not romantically do I believe this, nor poetically, nor emotionally, nor metaphorically except as all reality is metaphor, but steadily, lumpishly, and absolutely. The wild waste spaces of the sea, and the pale dunes with one hawk hanging in the wind, they are for me the formal spaces that, in a liturgy, are taken up by prayer, song, sermon, silence, homily, scripture, the architecture of the church itself. And as with prayer, which is a dipping of oneself toward the light, there is a consequence of attentiveness to the grass itself, and the sky itself, and to the floating bird. I too leave the fret and enclosure of my own life. I too dip myself toward the immeasurable. Now winter, the winter I am writing about, begins to ease. And what, if anything, has been determined, selected, nailed down? This is the lesson of age---events pass, things change, trauma fades, good fortune rises, fades, rises again but different. Whereas what happens when one is twenty, as I remember it, happens forever. I have not been twenty for a long time! The sun rolls toward the north and I feel, gratefully, its brightness flaming up once more. Somewhere in the world the misery we can do nothing about yet goes on. Somewhere the words I will write down next year, and the next, are drifting into the wind, out of the ornate pods of the weeds of the Provincelands. Once I went into the woods to find an almost unfindable bird, a blue grosbeak. And I found it: a rough, deep blue, almost black, with heavy beak; it was plucking one by one the humped, pale green caterpillars from the leaves of a thick green tree. Then it vanished into the shadows of the leaves and, in the same moment, from the crown of the tree flew a western bluebird---little aqua thrush of the mountains, hundreds of miles from its home. It is a moment hard to top---but, I can. Once I came upon two angels, they were standing quietly, keeping guard beside a car. Light streamed from them, and a splash of flames lay quietly under their feet. What is one to do with such moments, such memories, but cherish them? Who knows what is beyond the known? And if you think that any day the secret of light might come, would you not keep the house of your mind ready? Would you not cleanse your study of all that is cheap, or trivial? Would you not live in continual hope, and pleasure, and excitement?

Mercies (Chasad) LAMENTATIONS 3:22-23: “IT IS the Lord’s mercies that are not consumed, because His compassions fail not. They are new every morning, great is thy faithfulness.” “To never make a word I have not heard within my own heart.” Edmond Rostand (Cyrano De Bergerac) Edmond Rostand developed his character, Cyrano De Bergerac, to be the ultimate romantic poet and showed his heart when he declared that he swore he would “never make a word I have not heard in my own heart”. I liken this to the Word of God as there is not a word in the Bible that does not originate from the heart of God. The real beauty of Lamentations 3:22-23 is found in the word mercies. For me this is one of the most poetic words in the Bible coming from God’s heart. This word is chasad and is spelled

Its my sweet-lipped Passion:Art that drives me up to invent new smiles of Beauty,my wings are torn,and still it flies in search of Beauty.

They had read a fantastic book, a doorstop novel from India with colors and spices and music and poetry spilling out into the margins, a seven-course literary feast. After reading a brief biographical note about the author, they always went around the table. When it was Maya's turn, she was ready with yellow Post-its stuck in between the pages that held the paragraphs she wanted to read aloud. "I thought this book was like a tapestry," she'd begun, hearing her own voice sounding excited but focused. "Poetic and romantic descriptions of nature and art combined with a social message that's both brutal and- provocative

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

Chelgrian craft had romantic, purposeful or poetic names, but the Culture—while it had a sprinkling of ships with names of similar natures—usually went for ironic, meticulously obscure, supposedly humorous or frankly absurd names.

My life hinges on the deeds of others, and it drives me mad. I wish to be content and loved, yet I find it poetic, even romantic at times, to be sad and alone.

I have to be the man missing and musing much, love less and love breaking, hard times let me sleep a lonely man, worrying of building a love, may be fire to soul and ablaze high, for knowledge still loving the world of wonders!

DNA analyses of modern people suggest that the human population declined dramatically, to perhaps only a few hundred. When we talk about all men and women being brothers and sisters, and people of all types being closely related, we are not just being poetic and romantic. Compared to other species, humans exhibit very little genetic diversity, a trait that stems back to that time, not too long ago, when a small band of survivors had to repopulate humanity. We

Was that—did she just grin at me? To me? A moment of stillness in this moment of pause. Without speaking, we let our gazes wander slow, groping to confirm relief in the other. There's a subdued excitement for the oncoming sharing of whatever's waiting for us behind that heavy iron door, exclusive—two solitary embers, isolated in their separate pits, far away but fanned by the same wind, the same night, alone with the night, their respective camps all gone to sleep, flaring softly cradled calling, out against the great dark backdrop of the great unknown.

Thirty-five years of intimidating and dreary Islamic rule had created a rose-tinted view of the pre-revolutionary era. The arrests, the intimidation, the decadence of the elite, the horrors of SAVAK; it had all been forgotten, replaced by a revised, romantic version of the good old days. Among Iranians of a certain age and class, the swinging sixties and seventies are recalled with a poetic yearning nostalgia; an era of mini-skirts, freedom and hedonism.

Della Street, Perry Mason’s confidential secretary, said, “A couple of lovebirds have strayed into the office without an appointment. They insist it’s a matter of life and death.” “Everything is,” Mason said. “If you start with the idea of perpetuating life, you must accept the inevitable corollary of death—but I presume these people aren’t interested in my philosophical ideas.” “These people,” Della Street announced, “are interested in each other, in the singing of the birds, the blue of the sky, the moonlight on water, the sound of the night wind in the trees.” Mason laughed. “It’s infectious. You are getting positively romantic, poetic, and show evidence of having been exposed to a highly contagious disease . . . . Now, what the devil would two lovebirds want with the services of a lawyer who specializes in murder cases?

Thirty-five years of intimidating and dreary Islamic rule had created a rose-tinted view of the pre-revolutionary era. The arrests, the intimidation, the decadence of the elite, the horrors of SAVAK; it had all been forgotten, replaced by a revised, romantic version of the good old days. Among Iranians of a certain age and class, the swinging sixties and seventies are recalled with a poetic yearning nostalgia; an era of mini-skirts, freedom and hedonism. ‘I haven’t had a glass of wine since 1979,’ one man had told me at a petrol station in Qazvin; ‘I miss the 1970s,’ he had added with a mournful, faraway look.

And I told you that you’re beautiful—in some really poetic way even Mr. Hoyer would think was sonnet worthy.” “What did you say?” “How about that your eyes shine like unspoken promises?

Before today, “till death do us part” had seemed like a quaint, romantic notion, a poetic line in an old-fashioned vow. But now she understood that it was a warning, that every deep marital love ends in a forced separation. In grief.

The world is quite as beautiful as the poets say, but life is very different. There is nothing poetic or romantic about that; and as to falling in love like the girls always do in plays and stories, it is impossible. The real men are all so common-place-looking.

Poet has no power over the muse, it's the muse who powers the poet.

Poet has no power over the muse, It's the muse who powers the poet. Best of poetry is an act of selfless care, As the poet pens the pain through hopelessness.

Solitude itself your happiness,when a train of some promised words break like beads from the Heart's decked chain.

Oh, my love,” she gasped. “We are going to have to work on your romantic responses. A vow of mass homicide isn’t commonly considered poetic crooning.

In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however. He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy. Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them. The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.

I’ve always felt that the greatest and most beautiful stories in the history of humanity were not sung by wandering bards or written by playwrights and novelists, but told by science. The stories of science are far more magnificent, grand, involved, profound, thrilling, strange, terrifying, mysterious, and even emotional, compared to the stories told by literature. Only, these wonderful stories are locked in cold equations that most do not know how to read. The creation myths of the various peoples and religions of the world pale when compared to the glory of the big bang. The three-billion-year history of life’s evolution from self-reproducing molecules to civilization contains twists and romances that cannot be matched by any myth or epic. There is also the poetic vision of space and time in relativity, the weird subatomic world of quantum mechanics … these wondrous stories of science all possess an irresistible attraction. Through the medium of science fiction, I seek only to create my own worlds using the power of imagination, and to make known the poetry of Nature in those worlds, to tell the romantic legends that have unfolded between Man and Universe. But I cannot escape and leave behind reality, just like I cannot leave behind my shadow. Reality brands each of us with its indelible mark. Every era puts invisible shackles on those who have lived through it, and I can only dance in my chains.

The doorkeeper of the Norfolk Club was a man by the name of Cartiledge. As a youth, his heart had been romantic, his head had been poetic and his political affiliations had been conservative to an extreme. He hadn’t planned on a life of holding the door open for the aristocracy, and years of bowing to nobility had given him a sense both of what Karl Marx had been on about, and of profound, world-weary depression. Nothing interesting happened at the Norfolk Club.

Nevertheless, we can face the deeper problem, which Mill formulates as follows: 'What really are the intellectual characteristics of this age; whether our mental light - let us account for the fact as we may - has not lost in its intensity, at least a part of what it has gained in diffusion?' Mill is formulating the problem as a question. But the article to which he is responding was a plea 'for the moderns against those who placed the ancients above them,' so that Mill's signature would seem to imply an answer to his question which would place the ancients above the moderns. The phrasing of the question is, in any case, an endorsement of a reflexive criterion that Mill's father would repudiate: 'The intense was with him a bye-word of scornful disapprobation.' In fact Mill is pitting the Romantic and poetic criterion of inner 'intensity' against his father's utilitarian and journalistic criterion of public diffusion.''' That Mill has lost his youthful confidence in the progress attendant upon the diffusion of knowledge is even more evident form his next question: 'Whether our 'march of intellect' be not rather a march towards doing without intellect and supplying our deficiency of giants by the united efforts of a constantly increasing multitude of dwarfs?

First he searched the cooling bodies of Aclines, his apprentice, and the bodyguard. He set a few things aside to look at later, and tossed several potentially dangerous intentioned items over the side. Then he started a search of the rooms off the upper deck cabin while Tenes found the ship’s chart box and took it out to Ziede. Sanja helped him search, and he showed her what to look for and what to be wary of. Only five of the curtained rooms off the cabin had been occupied, so the work went quickly. Aclines had left no convenient diaries explaining his plans, no letters to his masters, no documents naming Ashem and Ramad as coconspirators. But maybe that sort of thing was only done by the villains in romantic Arike novels or Enalin poetic epics. Kai checked the lavish bathing room on the service deck just below. It had basins that could be filled with water pumped up from the ship’s cistern, and Kai took the opportunity to stick his head under a tap and quickly rinse the saltwater out of his hair. The galley was small, meant only to serve the Immortal Blessed occupying the stern cabin, but it was stocked with dry staples like lentils, chickpeas, and millet, with fresh stores of dates and figs. Provisions for Arike and the other south- and eastlanders, not the kind of food the Immortal Blessed preferred.