
No. 6, st. 10
The Biglow Papers (1848–1866), Series I (1848)
No. 6, st. 10
The Biglow Papers (1848–1866), Series I (1848)
" Out, Out — http://www.poemhunter.com/poem/out-out-2/"
1910s
Source: Dalemark Quartet, Drowned Ammet (1977), p. 233.
de se donner le change", Fr.
Source: Words of a Sage : Selected thoughts of African Spir (1937), p. 56.
“By lamplight turn these scented leaves and read
a tale of love recorded in old books.”
Source: The Tale of Kiều (1813), Lines 7–8
Part III : The Mystic Ruby
The Flower of Old Japan and Other Poems (1907), The Flower of Old Japan
Bk. II, No. 13, I Have Loved Flowers That Fade http://www.poetry-online.org/bridges_i_have_loved_flowers_that_fade.htm, st. 1 (1879).
Shorter Poems (1879-1893)
Source: 1890s, The Mountains of California (1894), chapter 10: A Wind-Storm in the Forests
“Soft carpet-knights, all scenting musk and amber.”
Second Week, Third Day, Part i. Compare: "As much valour is to be found in feasting as in fighting, and some of our city captains and carpet knights will make this good, and prove it", Robert Burton, Anatomy of Melancholy, Part i, Section 2, Membrane 2, Subsection 2.
La Seconde Semaine (1584)
<p>L’homme qui, dès le commencement, a été longtemps baigné dans la molle atmosphère de la femme, dans l’odeur de ses mains, de son sein, de ses genoux, de sa chevelure, de ses vêtements souples et flottants,</p><p>Dulce balneum suavibus
Unguentatum odoribus,</p><p>y a contracté une délicatesse d’épiderme et une distinction d’accent, une espèce d’androgynéité, sans lesquelles le génie le plus âpre et le plus viril reste, relativement à la perfection dans l’art, un être incomplet.</p>
"Un mangeur d'opium," VII: Chagrins d'enfance http://fr.wikisource.org/wiki/Les_Paradis_artificiels_-_II#VII_CHAGRINS_D.E2.80.99ENFANCE
Les paradis artificiels (1860)
Tulsidas’s definition of God in verse quoted in A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics http://books.google.co.in/books?id=5em1y2PczVgC&pg=PA36, p. 36
“The Book” http://www.schulzian.net/translation/sanatorium/book1.htm
His father, Books
Song
The Flower of Old Japan and Other Poems (1907), The Flower of Old Japan
“Every scent is the sun’s scent.”
“The Land,” p. p. 91
The Creator (2000), Sequence: “Nostalgic Elements”
Fairyland
Lyrics, (Miss)Understood
C'est l'imagination qui a enseigné à l'homme le sens moral de la couleur, du contour, du son et du parfum. Elle a créé, au commencement du monde, l'analogie et la métaphore. Elle décompose toute la création, et, avec les matériaux amassés et disposés suivant des règles dont on ne peut trouver l'origine que dans le plus profond de l'âme, elle crée un monde nouveau, elle produit la sensation du neuf. Comme elle a créé le monde (on peut bien dire cela, je crois, même dans un sens religieux), il est juste qu'elle le gouverne.
"Lettres à M. le Directeur de La revue française," III: La reine des facultés http://fr.wikisource.org/wiki/Salon_de_1859_%28Curiosit%C3%A9s_esth%C3%A9tiques%29#III._.E2.80.94_La_reine_des_facult.C3.A9s
Salon de 1859 (1859)
Source: The Philosopher's Apprentice (2008), P. S. (p. 15)
Source: The Coyote Kings of the Space-Age Bachelor Pad (2004), Chapter 90 “Unfurl the Sails, Speak the Names of the Stars” (p. 514)
The Historian's Craft, pg.26
Source: Translations, The Tale of Genji (1925–1933), Ch. 41: 'Mirage'
Source: Song lyrics, Never for Ever (1980)
Source: Silas Marner: The Weaver of Raveloe (1861), Chapter 3 (at page 24)
Source: Conversation (1782), Line 251.
Descent into Hell (1937), Ch. 5, "Return to Eden"
1962, quoted in Andriessen and Schoenberger, The Apollonian Clockwork (1989). Oxford: Oxford University Press.
1960s
Sydpolen (The South Pole) (1912)
Belinda, or The Love Letter
Heath's book of Beauty, 1833 (1832)
Source: Table Talk (1782), Line 690.
Original Italian text:
Noi canteremo le grandi folle agitate dal lavoro, dal piacere o dalla sommossa: canteremo le maree multicolori e polifoniche delle rivoluzioni nelle capitali moderne; canteremo il vibrante fervore notturno degli arsenali e dei cantieri incendiati da violente lune elettriche; le stazioni ingorde, divoratrici di serpi che fumano; le officine appese alle nuvole pei contorti fili dei loro fumi; i ponti simili a ginnasti giganti che scavalcano i fiumi, balenanti al sole con un luccichio di coltelli; i piroscafi avventurosi che fiutano l'orizzonte, le locomotive dall'ampio petto, che scalpitano sulle rotaie, come enormi cavalli d'acciaio imbrigliati di tubi, e il volo scivolante degli aereoplani, la cui elica garrisce al vento come una bandiera e sembra applaudire come una folla entusiasta.
Source: 1900's, The Founding and Manifesto of Futurism' 1909, p. 52 : Last bullet-item in THE MANIFESTO OF FUTURISM
The Fast of Ramadan: The Inner Heart Blossoms (2005)
Hercule Poirot’s Early Cases (1974)
Garden of Tortures
Cemetery World (1973)
Context: I find it a most intriguing and amusing thing that it might be possible to package the experiences, not only of one's self, but of other people. Think of the hoard we might then lay up against our later, lonely years when all old friends are gone and the opportunity for new experiences have withered. All we need to do then is to reach up to a shelf and take down a package that we have bottled or preserved or whatever the phrase might be, say from a hundred years ago, and uncorking it, enjoy the same experience again, as sharp and fresh as the first time it had happened... I have tried to imagine... the various ingredients one might wish to compound in such a package. Beside the bare experience itself, the context of it, one might say, he should want to capture and hold all the subsidiary factors which might serve as a background for it — the sound, the feel of wind and sun, the cloud floating in the sky, the color and the scent. For such a packaging, to give the desired results, must be as perfect as one can make it. It must have all those elements which would be valuable in invoking the total recall of some event that had taken place many years before...
Unity, § II
The Golden Hynde and Other Poems (1914)
Context: Heart of my heart, we cannot die!
Love triumphant in flower and tree,
Every life that laughs at the sky
Tells us nothing can cease to be:
One, we are one with the song to-day,
One with the clover that scents the world,
One with the Unknown, far away,
One with the stars, when earth grows old.
“The scent and smoke and sweat of a casino are nauseating at three in the morning.”
Opening line, Ch. 1 : The Secret Agent
Casino Royale (1953)
Context: The scent and smoke and sweat of a casino are nauseating at three in the morning. Then the soul erosion produced by high gambling — a compost of greed and fear and nervous tension — becomes unbearable and the senses awake and revolt from it.
“The rich scent of well-balanced soil was like incense.”
Source: Caliban's War (2012), Chapter 7 (p. 76)
Source: Henry Rios series of novels, Goldenboy (1988), p.132
The Sacred Books and Early Literature of the East, Vol. 5, p. 20
Poetry, Couplets
1941, Weird Tales, Vol. 36, p. 105
Haunted Hour
Source: The Rubaiyat (1120)
Original: (it) Vorrei ogni giorno poter sentire il profumo della tua pelle, gradire il sapore di un tuo bacio, ammirare la tua sensualità, percepire la tua dolcezza, ascoltare il battito del tuo cuore, comprendere la profondità della tua anima, gioire con il tuo sorriso, divertirmi con la tua simpatia e poter vivere appieno la tua armonia.
Source: prevale.net
"Prelude", stanza XI; p. ix., At the Gate of the Convent (1885)
Source: The Sayings and Teachings of the Great Mystics of Islam (2004), p. 54
“What sweet nectars and scents would emerge once the depths of your essence are revealed.”
Source: SHADES OF VANITY: Shades and Shadows of Eroticism
Original: Vorrei poter essere accanto a te accarezzandoti i capelli, avvertendo il profumo della tua pelle e guardandoti negli occhi, mordere dolcemente le tue labbra.
Source: prevale.net