Age cannot Love destroy, But perfidy can blast the flower, Even when in most unwary hour It blooms in Fancy's bower. Age cannot Love destroy, But perfidy can rend the shrine In which its vermeil splendours shine.
Woe is me!
The winged words on which my soul would pierce
Into the heights of love's rare universe,
Are chains of lead around its flight of fire--
I pant, I sink, I tremble, I expire.
I silently laugh at my own cenotaph,
And out of the caverns of rain,
Like a child from the womb, like a ghost from the tomb,
I arise and unbuild it again.
Human vanity is so constituted that it stiffens before difficulties. The more an object conceals itself from our eyes, the greater the effort we make to seize it, because it pricks our pride, it excites our curiosity and it appears interesting. In fighting for his God everyone, in fact, fights only for the interest of his own vanity, which, of all the passions produced bye the mal-organization of society, is the quickest to take offense, and the most capable of committing the greatest follies.
No mistake is more to be deplored than the conception that a system of morals and religion should derive any portion of its authority either from the circumstance of its novelty or its antiquity, that it should be judged excellent, not because it is reasonable or true, but because no person has ever thought of it before, or because it has been thought of from the beginning of time.
Swiftly walk o'er the western wave, Spirit of Night! Out of the misty eastern cave, Where, all the long and lone daylight, Thou wovest dreams of joyand fear, Which make thee terrible and dear, Swift be thy flight!
Life and the world, or whatever we call that which we are and feel, is an astonishing thing. The mist of familiarity obscures from us the wonder of our being. We are struck with admiration at some of its transient modifications, but it is itself the great miracle.
As long as skies are blue, and fields are green Evening must usher night, night urge the morrow, Month follow month with woe, and year wake year to sorrow
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.
Heaven's ebon vault Studded with stars unutterably bright, Through which the moon's unclouded grandeur rolls, Seems like a canopy which love has spread To curtain her sleeping world.
Poets, not otherwise than philosophers, painters, sculptors, and musicians, are, in one sense, the creators, and, in another, the creations, of their age.