“There is no sweeter delight than that the soul should be charged through and through with justice, exercising itself in her eternal principles and doctrines and leaving no vacant place into which injustice can make its way.”

The Age of Shakespeare (1908)
Context: Æschylus is above all things the poet of righteousness. "But in any wise, I say unto thee, revere thou the altar of righteousness": this is the crowning admonition of his doctrine, as its crowning prospect is the reconciliation or atonement of the principle of retribution with the principle of redemption, of the powers of the mystery of darkness with the coeternal forces of the spirit of wisdom, of the lord of inspiration and of light. The doctrine of Shakespeare, where it is not vaguer, is darker in its implication of injustice, in its acceptance of accident, than the impression of the doctrine of Æschylus. Fate, irreversible and inscrutable, is the only force of which we feel the impact, of which we trace the sign, in the upshot of Othello or King Lear. The last step into the darkness remained to be taken by "the most tragic" of all English poets. With Shakespeare — and assuredly not with Æschylus — righteousness itself seems subject and subordinate to the masterdom of fate: but fate itself, in the tragic world of Webster, seems merely the servant or the synonym of chance. The two chief agents in his two great tragedies pass away — the phrase was, perhaps, unconsciously repeated — "in a mist": perplexed, indomitable, defiant of hope and fear bitter and sceptical and bloody in penitence or impenitence alike. And the mist which encompasses the departing spirits of these moody and mocking men of blood seems equally to involve the lives of their chastisers and their victims. Blind accident and blundering mishap — "such a mistake", says one of the criminals, "as I have often seen in a play" — are the steersmen of their fortunes and the doomsmen of their deeds. The effect of this method or the result of this view, whether adopted for dramatic objects or ingrained in the writer's temperament, is equally fit for pure tragedy and unfit for any form of drama not purely tragic in evolution and event.

For My Legionaries: The Iron Guard (1936), Religion

Cambridge University Press, 1996, pp. 173-174
Human, All Too Human (1878)

Canto III, lines 1–3
Translations, Inferno (2008)

Interview Quotes, Random Quotes
Source: http://filmreviewonline.com/2012/09/08/glee-chris-colfer/, Online Film Review's journalist Judy Sloane pry's information from Chris Colfer at a party.

Canto III, lines 1–3 (tr. Mandelbaum).
The Divine Comedy (c. 1308–1321), Inferno

Act I, scene 2.
Sardanapalus (1821)

Main Street and Other Poems (1917), A Blue Valentine
Context: Her soul's light shines through,
But her soul cannot be seen.
It is something elusive, whimsical, tender, wanton, infantile, wise
And noble.

Expeditions of an Untimely Man, §48 Progress in my sense (Streifzüge eines Unzeitgemässen §48 Fortschritt in meinem Sinne). Chapter title also translated as: Skirmishes of an Untimely Man, Kaufmann/Hollingdale translation, and Raids of an Untimely Man, Richard Polt translation
Twilight of the Idols (1888)
Original: (de) Die Lehre von der Gleichheit! ... Aber es giebt gar kein giftigeres Gift: denn sie scheint von der Gerechtigkeit selbst gepredigt, während sie das Ende der Gerechtigkeit ist... "Den Gleichen Gleiches, den Ungleichen Ungleiches - das wäre die wahre Rede der Gerechtigkeit: und, was daraus folgt, Ungleiches niemals gleich machen."