I think that the leaf of a tree, the meanest insect on which we trample, are in themselves arguments more conclusive than any which can be adduced that some vast intellect animates Infinity.
So soon as this want or power [of love] is dead, man becomes the living sepulchre of himself, and what yet survives is the mere husk of what once he was.
O cease! must hate and death return, Cease! must men kill and die? Cease! drain not to its dregs the urn Of bitter prophecy. The world is weary of the past, Oh, might it die or rest at last!
Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in pain. This is the source also of the melancholy which is inseparable from the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure of pleasure itself.
Poetry is not like reasoning, a power to be exerted according to the determination of the will. A man cannot say, 'I will compose poetry.' The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness...and the conscious portions of our natures are unprophetic either of its approach or its departure.
Senseless is the breast and cold
Which relenting love would fold;
Bloodless are the veins and chill
Which the pulse of pain did fill;
Every little living nerve
That from bitter words did swerve
Round the tortur'd lips and brow,
Are like sapless leaflets now
Frozen upon December's bough.
The warm sun is failing, the bleak wind is wailing, The bare boughs are sighing, the pale flowers are dying, And the Year On the earth her death-bed, in a shroud of leaves dead, Is lying. . . .