... Oh! burning are the drops That wounded love will shed—like to the dew Falling from off the poison tree, the blight Still following the touch ;—ah… - Letitia Elizabeth Landon

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... Oh! burning are the drops
That wounded love will shed—like to the dew
Falling from off the poison tree, the blight
Still following the touch ;—ah ! other tears
Soften and bless—but these destroy the heart.

English
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About Letitia Elizabeth Landon

Letitia Elizabeth Landon (August 14, 1802 – October 15, 1838) was an English poet and novelist, better known by her initials L. E. L. She was one of the richest sources of epigrams in the early nineteenth century and one reviewer compared her to Rochefoucauld. Sometimes she adopts an adversarial role, giving contradictory viewpoints. Some of her thoughts recur, either developed or refined, but over time she also threw out differing opinions on some subjects; changeability, she argues, is one of our principal traits and, as she has one character remark, truth is like the philosopher's stone, a thing not to be discovered.

Also Known As

Pen Names: L.E.L. Iole
Native Name: Letitia Landon
Alternative Names: L. E. L. Letitia Maclean Letitia Elizabeth Maclean Landon

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Additional quotes by Letitia Elizabeth Landon

On a bough,
The only one chained by the honeysuckle,
Sat two white Doves, upon each neck a tint
Like the rose-stain within the delicate shell
Of the sea-pearl, as Love breathed on their plumes.
And each was mirror'd in the other's eyes,
Floating and dark, a paradise of passion.

There cannot be a greater error than to suppose that the poet does not feel what he writes. What an extraordinary, I might say, impossible view, is this to take of an art more connected with emotion than any of its sister sciences. What — the depths of the heart are to be sounded, its mysteries unveiled, and its beatings numbered by those whose own heart is made by this strange doctrine — a mere machine wound up by the clock-work of rhythm ! No ; poetry is even more a passion than a power, and nothing is so strongly impressed on composition as the character of the writer. I should almost define poetry to be the necessity of feeling strongly in the first instance, and the as strong necessity of confiding in the second.

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After all, though beauty be deceitful, and favour be vain, yet beauty is the most exquisite gift ever lavished by fairies around an infant cradle. Its charm is nameless ; it wins us, we know not why — and lingers on our memory, we know not wherefore. Whether in the animate or the inanimate world, it is the cause of our most delicious sensations ; it belongs to the imagination, for it calls up within us whatever of poetry may be lurking in the "hidden mines of thought." It is the attribute of all that is most glorious in existence — it is on the azure sky — it clothes the earth as with a garment — it rides triumphant over the purple bosom of the sea. Look within our hearts, it has originated all that is ideal in our nature. Beauty is the shadow flung from heaven on earth — it is the type of a lovelier and more spiritual existence, and the broken and transitory lights that it flings on this our sad and heavy pilgrimage, do but indicate another and a better sphere, where the beautiful will also be the everlasting. The homage involuntarily paid to its mysterious influence is but an unconscious acknowledgment of its divine origin, and its eternal future.

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