Victorian Poetry Quotes

Up the still, glistening beaches, Up the creeks we will hie, Over banks of bright seaweed The ebb-tide leaves dry. We will gaze, from the sand-hills, At the white, sleeping town; At the church on the hill-side— And then come back down. Singing: "There dwells a loved one, But cruel is she! She left lonely for ever The kings of the sea. (from poem 'The Forsaken Merman')

When fishing for birds, remember: The sky is a floating body of water. Use the proper bait, like Victorian poetry. Some ducks fly like they swim, and they love Browning everything behind them.

Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. —HERBERT SPENCER

Visitors come and go. Daily I read tea leaves for signs of the approaching century: a raven perched on a cross a sword piercing a cloud --A Victorian Life

Let us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic.… Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. —HERBERT SPENCER

It was a common complaint amongst the Arts students that their library was in dire need of refurbishment. To call the old building shabby chic was being kind. It didn’t have automated stacks or self-service machines like the Management and Sciences library the other side of campus and the carpets and bookcases looked like they were probably the Victorian originals. But on days like this one, where the springtime sunshine streamed in through the high windows and set the dust motes dancing, Harriet sincerely felt that those BSc lot could stuff their vending machines and state of the art study pods. The Old Library was clearly suited for those who had poetry in their souls, rather than numbers in their heads.

Surely, surely, slumber is more sweet than toil, the shore Than labor in the deep mid-ocean, wind and wave and oar; O, rest ye, brother mariners, we will not wander more.

a poetry express dreamer man of action, his every line thinking about. thinking about a woman.

I remembered a worrisome course in the Victorian novel where woman after woman died, palely and nobly, in torrents of blood, after a difficult childbirth.

A vicarious reader, her bookshelves were crowded with romantic poetry by Keats, Shelly and Byron; classic works from Jane Austen, the Bronte sisters and the great Bard himself, William Shakespeare.  In literature Angeline lost herself in the lives of others, and dreamt of adventures far beyond the Victorian farmhouse where we were raised-- a home as forlorn as the girl who lived beneath its weathered

Modern science has killed the Fantastic, and with the Fantastic, Poetry—which is also Fantasy. The last Fairy is well and truly buried—or dried, like a rare flower, between two pages of Monsieur Balzac.

back in the middle ages they burned unruly women at the stake and out of the ashes of their bones and flesh rose the Enlightenment and Reason fresh and the white men declared there's no such thing as witches they're just crazy psycho-bitches but we certainly can't let them run free lock 'em up and throw away the key yeah they said: lock 'em up and throw away the key cause there's nothing scarier than a woman mad and/or aware of her own magic tragic how much violence is done in the name of science to ensure our silence in Victorian times they located suffering in our uterus in the blood in the soft internal organs took our pain our righteous rage they called it 'hysteria' and then Dr. Freud ignored women's horror stories herstories of abuse and rape and took a justified hatred of the penis and called it envy (he sold more books that way)

As Sandy and his wife warmed to the tale, one tripping up another in their eagerness to tell everything, it gradually developed as distinct a superstition as I ever heard, and not without poetry and pathos. How long it was since the voice had been heard first, nobody could tell with certainty. Jarvis's opinion was that his father, who had been coachman at Brentwood before him, had never heard anything about it, and that the whole thing had arisen within the last ten years, since the complete dismantling of the old house: which was a wonderfully modern date for a tale so well authenticated. According to these witnesses, and to several whom I questioned afterwards, and who were all in perfect agreement, it was only in the months of November and December that "the visitation" occurred. During these months, the darkest of the year, scarcely a night passed without the recurrence of these inexplicable cries. Nothing, it was said, had ever been seen - at least nothing that could be identified. Some people, bolder or more imaginative than the others, had seen the darkness moving, Mrs Jarvis said with unconscious poetry. ("The Open Door")

He hoped and feared,' continued Solon, in a low. mournful voice; 'but at times he was very miserable, because he did not think it possible that so much happiness was reserved for him as the love of this beautiful, innocent girl. At night, when he was in bed, and all the world was dreaming, he lay awake looking up at the old books against the walls, thinking how he could bring about the charming of her heart. One night, when he was thinking of this, he suddenly found himself in a beautiful country, where the light did not come from sun or moon or stars, but floated round and over and in everything like the atmosphere. On all sides he heard mysterious melodies sung by strangely musical voices. None of the features of the landscape was definite; yet when he looked on the vague harmonies of colour that melted one into another before his sight he was filled with a sense of inexplicable beauty. On every side of him fluttered radiant bodies, which darted to and fro through the illuminated space. They were not birds, yet they flew like birds; and as each one crossed the path of his vision he felt a strange delight flash through his brain, and straightaway an interior voice seemed to sing beneath the vaulted dome of his temples a verse containing some beautiful thought. Little fairies were all this time dancing and fluttering around him, perching on his head, on his shoulders, or balancing themselves on his fingertips. 'Where am I?' he asked. 'Ah, Solon?' he heard them whisper, in tones that sounded like the distant tinkling of silver bells, "this land is nameless; but those who tread its soil, and breathe its air, and gaze on its floating sparks of light, are poets forevermore.' Having said this, they vanished, and with them the beautiful indefinite land, and the flashing lights, and the illumined air; and the hunchback found himself again in bed, with the moonlight quivering on the floor, and the dusty books on their shelves, grim and mouldy as ever.' ("The Wondersmith")

You surprise me, she says. Do I? he says. Why? Though I like to surprise you. He lights a cigarette, offers her one; she shakes her head for no. He’s smoking too much. It’s nerves, despite his steady hands. Because you said they fell in love, she says. You’ve sneered at that notion often enough—not realistic, bourgeois superstition, rotten at the core. Sickly sentiment, a high-flown Victorian excuse for honest carnality. Going soft on yourself? Don’t blame me, blame history, he says, smiling. Such things happen. Falling in love has been recorded, or at least those words have. Anyway, I said he was lying. You can’t wiggle out of it that way. The lying was only at first. Then you changed it. Point granted. But there could be a more callous way of looking at it. Looking at what? This falling in love business. Since when is it a business? she says angrily. He smiles. That notion bother you? Too commercial? Your own conscience would flinch, is that what you’re saying? But there’s always a tradeoff, isn’t there? No, she says. There isn’t. Not always. You might say he grabbed what he could get. Why wouldn’t he? He had no scruples, his life was dog eat dog and it always had been. Or you could say they were both young so they didn’t know any better. The young habitually mistake lust for love, they’re infested with idealism of all kinds. And I haven’t said he didn’t kill her afterwards. As I’ve pointed out, he was nothing if not self-interested. So you’ve got cold feet, she says. You’re backing down, you’re chicken. You won’t go all the way. You’re to love as a cock-teaser is to fucking. He laughs, a startled laugh. Is it the coarseness of the words, is he taken aback, has she finally managed that? Restrain your language, young lady. Why should I? You don’t. I’m a bad example. Let’s just say they could indulge themselves—their emotions, if you want to call it that. They could roll around in their emotions—live for the moment, spout poetry out of both ends, burn the candle, drain the cup, howl at the moon. Time was running out on them. They had nothing to lose. He did. Or he certainly thought he did! All right then.She had nothing to lose. He blows out a cloud of smoke. Not like me, she says, I guess you mean. Not like you, darling, he says. Like me. I’m the one with nothing to lose. She says, But you’ve got me. I’m not nothing.

You say the poet is in the clouds; but so is the thunderbolt.

Our reaction against the sentimentality embodied in Victorian and post-Victorian writing was so resolute writers came to believe that the further from sentimentality we got, the truer the art. That was a mistake. ...if you are not risking sentimentality, you are not close to your inner self.

Moonlight - 1888-1974 He feigned a fine indifference To be so prodigal of light, Knowing his piteous twisted things Would lose the crooked marks of spite When only moonbeams lit the dusk And made his wicked world seem right. But we forget so soon the shame, Conceiving sweetness if we can, Heaven the citadel itself Illumined on the lunar plan; And I the chief of sinners, I The middlemost Victorian! Now I shall ride the misty lake With my own love, and speak so low That not a fishy thing shall hear The secrets passing to and fro Amid the moonlight poetries. O moonshine, how unman us so?

There are people who will tell you that the building's neo-Gothic trash, Victorian and fake, a front pretending it's much grander than it is.

How many children could say their home hosted the humblest and highest at the same time, on any given evening invaded by expatriates their father never hesitated to invite in? Through the back door he welcomed a bookseller, organ grinder, biscuit maker, vagrant macaroni man, and one called Galli who thought he was Christ. Through the front, disgraced Italian counts and generals made as officious entrances as a small house on Charlotte Street afforded.

One day in the country was worth a month in town and better than Christmas, her birthday, or even Papa saying she was like the moon risen at the full.

I like youth, and I like the real newness, which always seems to me to be a development out of the old—not a bombshell. But I'm not sure that some of the writers who are claiming those qualities today are as new and young as the elderly critics tell us. I feel surest of my young writers when I don't hear their joints creaking with the strain to be new. ... "We must remember how badly Keats and Shelley were treated in their day, mustn't we?" "But the Della Cruscans, who were really bad, were sat upon, too, weren't they?" said Miss Bird. "And, after all, your argument would apply to bosh as well as to beautiful things." "Victorian, Miss Bird, Victorian," said Basil, wagging a playful finger at her. He had never heard of the Della Cruscan poets, but it was one of his principles never to give himself away in such things. "The conventional mind is the enemy, you know, in this country. I always admire that fellow—what's his name—who dedicated his book in those six words: 'To the British Public, these pearls!' We must think for ourselves. We mustn't be too conventional, you know." "But—that's exactly—I don't want to think what the fashion of the moment and the newspapers tell me I ought to think. At least, I don't want to do it mechanically. And I don't mean what you think I mean," stammered poor Miss Bird, blushing and puzzled at her inability to penetrate that superior armor with a perfectly sound and pointed weapon. The Helmstone debates had not yet taught her that you cannot argue with an alleged "modern" who is so pleased with himself (and so ancient a type) that he waives your own remarks and hears nothing but his own blood purring in his ears.

You remember the 'distinguished' poem that was quoted in the copy you lent to me? "They ordered bacon And eggs at seven. At eight o'clock, There was nobody down. Only the coffeepot Stood on the table." "Yes, but what possible ..." "Do you also remember what your 'distinguished' weekly said about it? 'The old-fashioned reader who would dismiss as insignificant this new and vital work (a striking example of the sharp-edged imagisme with which the more adventurous of our younger writers are experimenting today)'—you see, Basil, I have it by heart, words, tone, cadence and all—'forgets that every object, even the coffeepot on the table, has a perimeter which not only encloses that object, but also subtends a physical and metaphysical otherness that includes the whole of the rest of the universe. Such work, therefore, is more truly significant of ultimate reality than all the pantings after God of the Victorians.' ... you were squashing a perfectly genuine love of simple and true things in a perfectly genuine little woman, and that the words you borrowed for the purpose were muddle-headed and insincere drivel. ... They are not literary grounds. They are human grounds. Miss Bird, as I told you, is unlike your 'distinguished' anonymities in having a few quite genuine beliefs; and you used the cheap phrases of a pseudo-metaphysical charlatan, in a precious literary weekly, to snub her. I saw the hurt look on her face long after you had wiped your boots on her perfectly sincere love of certain perfectly true and simple things. ... I don't go to church to hear a high-brow Anglican curate quoting a Scandinavian lunatic, any more than I go to my hair-dresser's to hear a Christy minstrel reciting the Apostles' Creed. I know that it's all very noble and distinguished and broad-minded and generally newspaperish. You might have been brought up in a seminary for young ladies of fashion. ... He didn't know whether he was modern or antique. In either case, it appeared he was a fraud.

But with the Victorian era came a principle which conceived men not as comparatively, but as positively, mean and commonplace. A man of any station was represented as being by nature a dingy and trivial person--a person born, as it were, in a black hat. It began to be thought that it was ridiculous for a man to wear beautiful garments, instead of it being--as, of course, it is--ridiculous for him to deliberately wear ugly ones. It was considered affected for a man to speak bold and heroic words, whereas, of course, it is emotional speech which is natural, and ordinary civil speech which is affected. The whole relations of beauty and ugliness, of dignity and ignominy were turned upside down. Beauty became an extravagance, as if top-hats and umbrellas were not the real extravagance--a landscape from the land of the goblins. Dignity became a form of foolery and shamelessness, as if the very essence of a fool were not a lack of dignity. And the consequence is that it is practically most difficult to propose any decoration or public dignity for modern men without making them laugh. They laugh at the idea of carrying crests and coats-of-arms instead of laughing at their own boots and neckties. We are forbidden to say that tradesmen should have a poetry of their own, although there is nothing so poetical as trade. A grocer should have a coat-of-arms worthy of his strange merchandise gathered from distant and fantastic lands; a postman should have a coat-of-arms capable of expressing the strange honour and responsibility of the man who carries men's souls in a bag; the chemist should have a coat-of-arms symbolizing something of the mysteries of the house of healing, the cavern of a merciful witchcraft. There

To salvage the genuine love he was deprived of in childhood, Rimbaud turned to the idea of love embodied in Christian charity and in understanding and compassion for others. He set out to give others what he himself had never received. He tried to understand his friend and to help Verlaine understand himself, but the repressed emotions from his childhood repeatedly interfered with this attempt. He sought redemption in Christian charity, but his implacably perspicacious intelligence would allow him no self-deception. Thus he spent his whole life searching for his own truth, but it remained hidden to him because he had learned at a very early age to hate himself for what his mother had done to him. He experienced himself as a monster, his homosexuality as a vice (this was easy to do given Victorian attitudes toward homosexuality), his despair as a sin. But not once did he allow himself to direct his endless, justified rage at the true culprit, the woman who had kept him locked up in her prison for as long as she could. All his life he attempted to free himself of that prison, with the help of drugs, travel, illusions, and above all poetry. But in all these desperate efforts to open the doors that would have led to liberation, one of them remained obstinately shut, the most important one: the door to the emotional reality of his childhood, to the feelings of the little child who was forced to grow up with a severely disturbed, malevolent woman, with no father to protect him from her. Rimbaud’s biography is a telling instance of how the body cannot but seek desperately for the early nourishment it has been denied. Rimbaud was driven to assuage a deficiency, a hunger that could never be stilled. His drug addiction, his compulsive travels, and his friendship with Verlaine can be interpreted not merely as attempts to flee from his mother, but also as a quest for the nourishment she had withheld from him. As his internal reality inevitably remained unconscious, Rimbaud’s life was marked by compulsive repetition.

And they say Highlanders aren’t romantic.” “Who needs poetry or diamonds and gems?” He flashed his teeth in a fierce smile. “I find the most precious stones a man can offer are the ones cut from yer enemy while he’s on his knees screaming for death.

Why not the Victorians and their sentimental grief-wreaths woven from a loved one's hair?

There are three steps to applying the lessons of this experiment to our regular lives: Very simply, choose something that is unappealing to you. It could be listening to speed metal or free jazz, going to a wine-tasting event, or reading Victorian poetry. Take part in the activity, but instead of doing it as is, search for any three novel or unique things about it. Write down or talk about what you discovered with someone else. Like the research participants, you’ll find you carry this open-minded interest with you in subsequent days and weeks.

Close your eyes, and the entire history of England seems to dance in the light of this magic lantern: the thousands of villages, each with its own church spire and unique folk traditions; the poetry and drama; the pies and cakes; the green hills full of sheep; the factories; the Victorian ships and railways; the smoke and smog of urban life in the 1950s.

Poetry,’ I continued, ‘is too sensational for young minds.

It is a strange distortion, fostered by the biases of modern literary genealogy, that the novel is so often seen these days as the dominant and privileged genre of the nineteenth century. The Victorian novel, as a new, and of course, modern exploration of the self through narrative, has become an integral part of our story of modernity's culture... Novelists were indeed lions of literary society and creators of narratives by which the world was understood and lived... Yet such literary history distorts and diminishes the cultural significance of at least two other forms of genres. which in the nineteenth century were no less fundamental as narratives of the self, and which the novel is in constant dialogue with. The first... is poetry. ... Poetry as a narrative of self-formation - reading it, writing it, learning it so that it is inside you - is fundamental to nineteenth century Bildung... ... The second flourishing genre...biography is a fundamental way in which the process of 'writing down the self' was expressed. ... New theoretical models of psychological development, however, are equally influential in this changing sense of self-construction. Scientists and theoreticians of the mind - of which Freud is only the most starry example - were producing instrumental and wide ranging paradigms of psychological development as models of individual growth or as models of social transformation. How the child would or should become an adult - sexually, morally, socially - was becoming the question argued through at a particularly heated juncture between social science, educational theory, and medicine. Life-writing became the test cases of such intellectually explosive theorizing. Theories of psychology duly became systems of upbringing, which stimulated in turn a literature of resistance and questioning.

The true poet is of the hero type, soaring above sensual gratification and rational formulas. The language of poetry has the potential for generating cosmic visions and the optimism of a regenerative belief system.