Upon the publication of Goethe’s epic drama, the Faustian legend had reached an almost unapproachable zenith. Although many failed to appreciate, or indeed, to understand this magnum opus in its entirety, from this point onward his drama was the rule by which all other Faust adaptations were measured. Goethe had eclipsed the earlier legends and became the undisputed authority on the subject of Faust in the eyes of the new Romantic generation. To deviate from his path would be nothing short of blasphemy.

A man leaves his great house because he's boredWith life at home, and suddenly returns,Finding himself no happier abroad.He rushes off to his villa driving like mad,You'ld think he's going to a house on fire,And yawns before he's put his foot inside,Or falls asleep and seeks oblivion,Or even rushes back to town again.So each man flies from himself (vain hope, becauseIt clings to him the more closely against his will)And hates himself because he is sick in mindAnd does not know the cause of his disease.

A man, any man, will go considerably out of his way to pick up a silver dollar; but here are golden words, which the wisest men of antiquity have uttered, and whose worth the wise of every succeeding age have assured us of; — and yet we learn to read only as far as Easy Reading, the primers and class-books, and when we leave school, the "Little Reading," and story-books, which are for boys and beginners; and our reading, our conversation and thinking, are all on a very low level, worthy only of pygmies and manikins.

But the older he grew and the more intimately he came to know his brother, the oftener the thought occurred to him that the power of working for the general welfare – a power of which he felt himself entirely destitute – was not a virtue but rather a lack of something: not a lack of kindly honesty and noble desires and tastes, but a lack of the power of living, of what is called heart – the aspiration which makes a man choose one out of all the innumerable paths of life that present themselves, and desire that alone.

There were a few middle-aged and even elderly women in the train, their silver-wiry hair and wrinkled faces, scourged by time and trouble, having almost a grotesque, certainly a pathetic, appearance in such a jaunty situation. In a true view, perhaps, there was more to be gathered and told of each anxious and experienced one, to whom the years were drawing nigh when she should say, 'I have no pleasure in them', than of her juvenile comrades. But let the elder be passed over here for those under whose bodices the life throbbed quick and warm.

Freedom is a need of the soul, and nothing else. It is in striving toward God that the soul strives continually after a condition of freedom. God alone is the inciter and guarantor of freedom. He is the only guarantor. External freedom is only an aspect of interior freedom. Political freedom, as the Western world has known it, is only a political reading of the Bible. Religion and freedom are indivisible. Without freedom the soul dies. Without the soul there is no justification for freedom. Necessity is the only ultimate justification known to the mind.

Analiza la cuestión, ¿cómo pretendes que sea un ser agradable si soy un monstruo, o que sea generoso con los demás, si se muestran implacables conmigo? Si tú me arrojases a uno de esos barrancos helados, o me destrozaras con tus manos, ¿verdad que no lo considerarías un crimen? Y yo me pregunto, ¿por qué debo de respectar al que me desprecia? Haz que el hombre, en vez de odiarme, me acepte y me enseñe sus bondades, y serás testigo de todas las cosas buenas que soy capaz de hacer por vosotros.

It is untrue that fiction is nonutilitarian. The uses of fiction are synonymous with the uses of literature. They include refreshment, clarification of life, self-awareness, expansion of our range of experiences, and enlargement of our sense of understanding and discovery, perception, intensification, expression, beauty , and understanding. Like literature generally, fiction is a form of discovery, perception, intensification, expression, beauty, and understanding. If it is all these things, the question of whether it is a legitimate use of time should not even arise.

Whoa, son,” said Atticus. “Nobody’s about to make you go anywhere but to bed pretty soon. I’m just going over to tell Miss Rachel you’re here and ask her if you could spend the night with us—you’d like that, wouldn’t you? And for goodness’ sake put some of the county back where it belongs, the soil erosion’s bad enough as it is.” Dill stared at my father’s retreating figure. “He’s tryin‘ to be funny,” I said. “He means take a bath. See there, I told you he wouldn’t bother you.

Što ona to govori? Njezin je govor nestvaran, samotan. On ga osjeća. Osjeća kako ga boli... A njezin je govor milovanje, spokojno prolaženje kroz tminu večernjih soba. Kad boje u depresijama gasnu i umiru. Ona je tu. U jednom atomu zraka. On je ćuti kako mu šapće. Ona se smije. Tako ona prolazi. Prolazi kao ovaj dan iznad dvorca. Čas pun sunca, čas opet sjena i tišine. U svim nijansama boli i radosti. Tako prolazi sjena njezina, dah njezin. A on je tu sam i ne može da dokuči, da joj išta rekne, da joj bude bliz.

And is not all of life material- based on the material- permeated by the material? Should not one learn, gladly, to utilize the beauty of the fine material? I do not speak of the gross crudities of soporific television, of loud brash convertibles and vulgar display- but rather of grace and line and refinement- and there are wonderful and exciting things that only money can buy, such as theater tickets, books, paintings, travel, lovely clothes- and why deny them when one can have them? The only problem is to work, to stay awake mentally and physically, and NEVER become mentally, physically, spiritually flabby or over complacent!

You are going, Jane?""I am going, sir.""You are leaving me?""Yes.""You will not come? You will not be my comforter, my rescuer? My deep love, my wild woe, my frantic prayer, are all nothing to you?"What unutterable pathos was in his voice! How hard was it to reiterate firmly, "I am going!""Jane!""Mr. Rochester.""Withdraw then, I consent; but remember, you leave me here in anguish. Go up to your own room, think over all I have said, and, Jane, cast a glance on my sufferings; think of me."He turned away, he threw himself on his face on the sofa. "Oh, Jane! my hope, my love, my life!" broke in anguish from his lips. Then came a deep, strong sob.

When sonneteering Wordsworth re-creates the landing of Mary Queen of Scots at the mouth of the Derwent -Dear to the Loves, and to the Graces vowed,The Queen drew back the wimple that she wore- he unveils nothing less than a canvas by Rubens, baroque master of baroque masters; this is the landing of a TRAGIC Marie de Medicis.Yet so receptive was the English ear to sheep-Wordsworth's perverse 'Enough of Art' that it is not any of these works of supreme art, these master-sonnets of English literature, that are sold as picture postcards, with the text in lieu of the view, in the Lake District! it is those eternally, infernally sprightly Daffodils.

They ordered punch. They drank it. It was hot rum punch. The pen falters when it attempts to treat of the excellence thereof; the sober vocabulary, the sparse epithet of this narrative, are inadequate to the task; and pompous term, jewelled, exotic phrases rise to the excited fancy. It warmed the blood and cleared the head; it filled the soul with well-being; it disposed the mind at once to utter wit, and to appreciate the wit of others; it had the vagueness of music and the precision of mathematics. Only one of its qualities was comparable to anything else; it had the warmth of a good heart; but its taste, its smell, its feel, were not to be described in words.

¿Os dais cuenta cabal de la cadena de crímenes tramados por la nena? Crimen número uno: la acusada comete allanamiento de morada. Crimen número dos: el personaje se queda con tres platos de potaje. Crimen número tres: la muy cochina destroza una sillita isabelina. Crimen número cuatro: va la dama y se limpia los zapatos en la cama... Un juez no dudaría ni un instante: «¡Diez años de presidio a esa tunante!». Pero en la historia, tal como se cuenta, la miserable escapa tan contenta mientras los niños gritan, encantados: «¡Qué bien; Ricitos de oro se ha salvado!».