3
" I am convinced that God is love; this thought has for me a pristine lyrical validity. When it is present to me I am unspeakably happy, when it is absent I yearn for it more intensely than the lover for the beloved; but I do not have faith; this courage I lack. God's love is for me, both in a direct and inverse sense, incommensurable with the whole of reality. I am not coward enough to whimper and moan on that account, but neither am I underhand enough to deny that faith is something far higher. I can very well carry on living in my manner, I am happy and satisfied, but my happiness is not that of faith and compared with that is indeed unhappy. I do not burden God with my petty cares, details don't concern me, I gaze only upon my love and keep its virginal flame pure and clear; faith is convinced that God troubles himself about the smallest thing. In this life I am content to be wedded to the left hand, faith is humble enough to demand the right; and that it is indeed humility I don't, and shall never, deny. "
5
" I stopped in front of a florist's window. Behind me, the screeching and throbbing boulevard vanished. Gone, too, were the voices of newspaper vendors selling their daily poisoned flowers. Facing me, behind the glass curtain, a fairyland. Shining, plump carnations, with the pink voluptuousness of women about to reach maturity, poised for the first step of a sprightly dance; shamelessly lascivious gladioli; virginal branches of white lilac; roses lost in pure meditation, undecided between the metaphysical white and the unreal yellow of a sky after the rain. "
― Emil Dorian , Quality of Witness: A Romanian Diary, 1937-1944
7
" This scene expresses the basic situation of immaturity; lyricism is an attempt to face that situation: the individual expelled from the protected enclosure of childhood wishes to enter the world, but at the same time, because he is frightened of it, he fashions an artificial replacement world out of his own verse. He makes his poems revolve around him like the planets around the sun; he becomes the center of a small universe in which nothing is alien, in which he feels as much at home as a child inside its mother, for everything here is fashioned only from the substance of his soul. Here he can accomplish everything that is so difficult " outside;" here he can, like the student Wolker, march with a proletarian crowd to make a revolution and, like the virginal Rimbaud, lash his " little girlfriends" because that crowd and those girlfriends are not fashioned out of the hostile substance of an alien world but out of the substance of his own dreams, and they are thus he himself and do not shatter the unity of the universe he has constructed for himself. "
10
" One may, in a case of exigency, introduce the reader in to a nuptial chamber, not into a virginal chamber. Verse would hardly venture it, prose must not.
It is the interior of a flower that is not yet unfolded, it is whiteness in the dark, it is the private cell of a closed lily, which must not be gazed upon by man so long as the sun has not gazed upon it. Woman in the bud is sacred. That innocent bud which opens, that adorable half-nudity which is afraid of itself, that white foot which takes refuge in a slipper, that throat which veils itself before a mirror as though a mirror were an eye, that chemise which makes haste to rise up and conceal the shoulder for a creaking bit of furniture or a passing vehicle, those cords tied, those clasps fastened, those laces drawn, those tremors, those shivers of cold and modesty, that exquisite affright in every movement, that almost winged uneasiness where there is no cause for alarm, the successive phases of dressing, as charming as the clouds of dawn,—it is not fitting at all that all this should be narrated, and it is too much to have even called attention to it. "
― Victor Hugo , Les Misérables
11
" Love is for every age auspicious,
But for the virginal and young
Its impulses are more propitious
Like vernal storms on meadows sprung:
They freshen in the rain of passion,
Ripening in their renovation –
And life, empowered, sends up shoots
Of richest blooms and sweetest fruits.
But at a late age, dry and fruitless,
The final stage to which we’re led,
Sad is the trace of passions dead:
Thus storms in autumn, cold and ruthless,
Transform the field into a slough,
And strip the trees from root to bough. "
― Alexander Pushkin , Eugene Onegin
13
" Reading Chip's college orientation materials, Alfred had been struck by the sentence New England winters can be very cold. The curtains he'd bought at Sears were of a plasticized brown-and-pink fabric with a backing of foam rubber. They were heavy and bulky and stiff. " You'll appreciate these on a cold night," he told Chip. " You'll be surprised how much they cut down drafts." But Chip's freshman roommate was a prep-school product named Roan McCorkle who would soon be leaving thumbprints, in what appeared to be Vaseline, on the fifth-grade photo of Denise. Roan laughed at the curtains and Chip laughed, too. He put them back in the box and stowed the box in the basement of the dorm and let it gather mold there for the next four years. He had nothing against the curtains personally. They were simply curtains and they wanted no more than what any curtains wanted - to hang well, to exclude light to the best of their ability, to be neither too small nor too large for the window that it was their task in life to cover; to be pulled this way in the evening and that way in the morning; to stir in the breezes that came before rain on a summer night; to be much used and little noticed. There were numberless hospitals and retirement homes and budget motels, not just in the Midwest but in the East as well, where these particularly brown rubber-backed curtains could have had a long and useful life. It wasn't their fault that they didn't belong in a dorm room. They'd betrayed no urge to rise above their station; their material and patterning contained not a hint of unseemly social ambition. They were what they were. If anything, when he finally dug them out of the eve of graduation, their virginal pinkish folds turned out to be rather less plasticized and homely and Sears-like than he remembered. They were nowhere near as shameful as he'd thought. "
14
" I know you want to fuck me. And I know you wish you didn’t. So how about we compromise and you can sit here and say, ‘No, Nora,’ ‘Don’t, Nora,’ ‘Stop, Nora,’ and I’ll ignore all those protests and slide right down on your cock anyway? And I’ll do it because no and don’t and stop aren’t your safe word. So you can finally get fucked and still sleep like a baby in your big lonely bed tonight feeling all clean and shiny and virginal because, after all, you did say ‘no’ and that awful Nora Sutherlin just wouldn’t listen. "
― Tiffany Reisz , The Siren (The Original Sinners, #1)