Strictly speaking, the idea of a scientific poem is probably as nonsensical as that of a poetic science.

God the father, and even more often the devil himself, appears at times in the place of fate in the modern tragedy. Why is it thatthis has not induced any scholar to develop a theory of the diabolical genre?

The life and vigor of poetry consists of the fact that it steps out of itself, tears out a section of religion, then withdraws into itself to assimilate it. The same is true of philosophy.

The two basic maxims of the so-called historical criticism are the postulate of the common and the axiom of the ordinary. Postulate of the common: everything really great, good, and beautiful, is improbable, since it is extraordinary and therefore at least suspect. Axiom of the ordinary: our conditions and environment must have existed everywhere, for they are really so natural.

You wanted to destroy philosophy and poetry in order to make room for religion and morality which you misunderstood: but you wereable to destroy only yourself.

In many a poetic work, one gets here and there, instead of representation merely a title indicating that this or that was supposedto be represented here, that the artist has been prevented from doing it and most humbly asks to be kindly excused.

When ideas become gods, consciousness of harmony becomes devotion, humility, and hope.