Best 11 quotes in «shelley quotes» category

Be men, or be more than men. Be steady to your purposes and firm as a rock. This ice is not made of such stuff as your hearts may be; it is mutable and cannot withstand you if you say that it shall not.

And others came... Desires and Adorations, Winged Persuasions and veil'd Destinies, Splendours, and Glooms, and glimmering Incarnations Of hopes and fears, and twilight Phantasies; And Sorrow, with her family of Sighs, And Pleasure, blind with tears, led by the gleam Of her own dying smile instead of eyes, Came in slow pomp; the moving pomp might seem Like pageantry of mist on an autumnal stream.

Fame Shark is American Psycho meets Call It Sleep. A no-holds -barred saga of the extremes a human being can go to in his or her quest for attention. Young has the precocity and audacity of Shelley and the fearlessness of Philippe Petit.

The boundaries between us had been breached for good, we gave a new meaning t the notion that man and wife were one flesh. You could track back this kind of alchemy in books: '...intimately to mix and melt and to be melted together with his beloved, so that one should be made out of two.' This is Shelley translating Plato, who was putting words into the mouth of Aristophanes, who's the only defender of heterosexual sex in the Symposium, although he makes it sound perverse.

And, day and night, aloof, from the high towers and terraces, the Earth and Ocean seem to sleep in one another's arms, and dream of waves, flowers, clouds, woods, rocks, and all that we read in their smiles, and call reality.

He pushed a finger through the surface of the water to trace the outline of her mouth. Ethereal bits of flesh floated loosely about his knuckle and nail. Then, calmly, he pulled her body up out of the tub and into his arms. He placed his lips on hers, now as cold and dead as his own.

The radiance of which he speaks is the scholastic quidditas, the whatness of a thing. The supreme quality is felt by the artist when the esthetic image is first conceived in his imagination. The mind in that mysterious instant Shelley likened beautifully to a fading coal. The instant wherein that supreme quality of beauty, the clear radiance of the esthetic image, is apprehended luminously by the mind which has been arrested by its wholeness and fascinated by its harmony is the luminous silent stasis of esthetic pleasure, a spiritual state very like to that cardiac condition which the Italian physiologist, Luigi Galvani, using a phrase almost as beautiful as Shelley’s, called the enchantment of the heart.

We—are we not formed, as notes of music are, For one another, though dissimilar; Such difference without discord, as can make Those sweetest sounds, in which all spirits shake As trembling leaves in a continuous air?

When soul meets soul on lovers' lips.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

Less oft peace in Shelley's mind, Than calm in waters seen.