French Poetry Quotes & Sayings

Folly, error, sin, avarice
Occupy our minds and labor our bodies,
And we feed our pleasant remorse
As beggars nourish their vermin. — Charles Baudelaire

In his youth, Wordsworth sympathized with the French Revolution, went to France, wrote good poetry and had a natural daughter. At this period, he was a bad man. Then he became good, abandoned his daughter, adopted correct principles and wrote bad poetry. — Bertrand Russell

Italian is the language of song. German is good for philosophy and English for poetry. French is best at precision; it has a rigour to it. — Maurice Druon

I was eighteen now, just gone. Eighteen was not a young age. At eighteen old Wolfgang Amadeus had written concertos and symphonies and operas and oratorios and all that cal, no, not cal, heavenly music. And then there was old Felix M. with his "Midsummer Night's Dream" Overture. And there were others. And there was this like French poet set by old Benjy Britt, who had done all his best poetry by the age of fifteen, O my brothers. Arthur, his first name. Eighteen was not all that young an age then. But what was I going to do? — Anthony Burgess

Also, he detested people who bought fast horses that they were unskilled to ride. Furthermore, he detested: recreational sailing vessels; surveyors; cheaply made shoes; French (the language, the food, the populace); nervous clerks; tiny porcelain plates which broke in a man's damned hand; poetry (but not songs!); the stooped backs of cowards; thieving sons of whores; a lying tongue; the sound of a violin; the army (any army); tulips ("onions with airs!"); blue jays; the drinking of coffee ("a damned, dirty Dutch habit!"); — Elizabeth Gilbert

In poetry, I have, since very young, loved poetry in translation. The Chinese, the French, the Russians, Italians, Indians and early Celts: the formality of the translator's voice, their measured breath and anxiety moves me as it lingers over the original. — Fanny Howe

The sign of a true woman isn't the ability to recite French poetry or play the pianoforte or cook Chateaubriand. The sign of a true woman is learning to listen to her own voice even when society does its best to drown it out. — Eve Marie Mont

In the French language, there is a great gulf between prose and poetry; in English, there is hardly any difference. It is a splendid privilege of the great literary languages Greek, Latin, and French that they possess a prose. English has not this privilege. There is no prose in English. — Victor Hugo

When I arrived at Columbia, I gave up acting and became interested in all things French. French poetry, French history, French literature. — Joseph Gordon-Levitt

When I was twelve I was obsessed. Everything was sex. Latin was sex. The dictionary fell open at 'meretrix', a harlot. You could feel the mystery coming off the word like musk. 'Meretrix'! This was none of your mensa-a-table, this was a flash from a forbidden planet, and it was everywhere. History was sex, French was sex, art was sex, the Bible, poetry, penfriends, games, music, everything was sex except biology which was obviously sex but not really sex, not the one which was secret and ecstatic and wicked and a sacrament and all the things it was supposed to be but couldn't be at one and the same time - I got that in the boiler room and it turned out to be biology after all. — Tom Stoppard

They are treading water in a sea of retarded sexuality and bad poetry. — Karl French

I would like to spend more time with Spanish poetry. I know French better than Spanish, but Spanish was my first language, and my father spoke it to us. — Helen Vendler

What fascinated me about English was what I later recognized as its hybrid etymoogy: blunt Anglo-Saxon concreteness, sleek Norman French urbanity, and polysyllabic Greco-Roman abstraction. The clash of these elements, as competitive as Italian dialects is invigorating, richly entertaining, and often funny, as it is to Shaskespeare, who gets tremendous effects out of their interplay. The dazzling multiplicity of sounds and word choices in English makes it brilliantly suited to be a language of poetry.. — Camille Paglia

When Verlaine and Rimbaud were young," [Snyder] said, they were protesting the iron-grip bourgeois rationality had on all aspects of nineteenth-century French culture - the manners, the view of reality, and the exclusion of 'the wild' from public life. Rationality in business and society were dominant values. 'Deranging the senses' was one strategy artists like Verlaine and Rimbaud employed to break free of that.

"Today," he continued, "the bourgeoisie is sociopathic, overindulged, distracted, spoiled beyond measure, and unable to restrain its gluttony, even in the face of pending planetary destruction. In the face of such a threat, it has, by necessity, become the responsibility of the artist to model health and sanity. — Peter Coyote

If I were a psychiatrist, I should advise my patients who suffer from "anguish" to read this poem of Baudelaire's whenever an attack seems imminent. Very gently, they should pronounce Baudelaire's key word, vast. For it is a word that brings calm and unity; it opens up unlimited space. It also teaches us to breathe with the air that rests on the horizon, far from the walls of the chimerical prisons that are the cause of our anguish. It has a vocal excellence that is effective on the very threshhold of our vocal powers. The French baritone, Charles Panzera, who is sensitive to poetry, once told me that, according to certain experimental psychologists, it is impossible to think the vowel sound ah without a tautening of the vocal chords. In other words, we read ah and the voice is ready to sing. The letter a, which is the main body of the word vast, stands aloof in its delicacy, an anacoluthon of spoken sensibility. — Gaston Bachelard

Read it to me."
"Seriously?" he said quietly. "You want me to read you poetry? Like saving your life ten times wasn't enough? — Brynn Kelly

I hate French poetry. What measured glitter! — Israel Zangwill

Chalmers, like many of the English writers whom he then most admired, felt a strong natural sympathy with everything French. At Rouen he imagined himself as having escaped into a world in which it was possible to speak openly and unaffectedly of all those subjects which in England must be introduced by an apology or guarded with a sneer - poetry, metaphysics, romantic love. — Christopher Isherwood

In college, I was a huge fan of 'Les Miserables.' I seem to remember that people who were into French literature preferred Hugo's poetry. — Garth Risk Hallberg

No one's serious at seventeen,
When lindens line the promenades — Arthur Rimbaud

What bizarre things does not one find in a great city when one knows how to walk about and how to look! Life swarms with innocent monsters. Oh Lord my God, Thou Creator, Thou Master, Thou who hast made law and liberty, Thou the Sovereign who dost allow, Thou the Judge who dost pardon, Thou who art full of Motives and of Causes, Thou who hast (it may be) placed within my soul the love of horror in order to turn my hear to Thee, like the cure which follows the knife; Oh Lord, have pity, have pity upon the mad men and women that we are! Oh Creator, is it possible that monsters should exist in the eyes of Him alone who knoweth why they exist, how they have made themselves, and how they would have made themselves, and could not? — Charles Baudelaire

It isn't so long since a test of Anglican orthodoxy was applied to anyone seeking to study or teach at Oxford and Cambridge universities. One of the most celebrated victims of this theocratic policy was Shelley (1792-1811) who was expelled from University College, Oxford, for writing a pamphlet entitled The Necessity of Atheism. He and his poetry were much influenced by the climate of skepticism engendered by the French and Scottish enlightenments, and he himself was to marry the daughter of the freethinker William Godwin. In this extract from A Refutation of Deism, Shelley sets about the propaganda of the creationists. — Christopher Hitchens

The great watershed of modern poetry is French, more than English. — Robert Morgan

Between the ages of ten and fifteen in St. Petersburg, I must have read more fiction and poetry - English, Russian and French - than in any other five-year period of my life. I relished especially the works of Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Chekhov, Tolstoy, and Alexander Blok. On another level, my heroes were the Scarlet Pimpernel, Phileas Fogg, and Sherlock Holmes. In other words, I was a perfectly normal trilingual child in a family with a large library. At a later period, in Western Europe, between the ages of 20 and 40, my favorites were Housman, Rupert Brooke, Norman Douglas, Bergson, Joyce, Proust, and Pushkin. Of these top favorites, several - Poe, Jules Verne, Emmuska Orezy, Conan Doyle, and Rupert Brooke - have lost the glamour and thrill they held for me. The others remain intact and by now are probably beyond change as far as I am concerned. — Vladimir Nabokov

{...]I began to feel tears of frustration build up in my eyes, yearning to free themselves from their glandular prisons. — Andrea Bouchaud

The language of the age is never the language of poetry, except among the French, whose verse, where the thought or image does not support it, differs in nothing from prose. — Thomas Gray

Whether we like it or not, if we are to pursue a career in science, eventually we have to learn the "language of nature": mathematics. Without mathematics, we can only be passive observers to the dance of nature rather than active participants. As Einstein once said, "Pure mathematics is, in its way, the poetry of logical ideas." Let me offer an analogy. One may love French civilization and literature, but to truly understand the French mind, one must learn the French language and how to conjugate French verbs. The same is true of science and mathematics. Galileo once wrote, "[The universe] cannot be read until we have learnt the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles, and other geometrical figures, without which means it is humanly impossible to understand a single word. — Michio Kaku

I guess I wanted to leave America for awhile. It wasn't that I wanted to become an expatriate, or just never come back, I needed some breathing room. I'd already been translating French poetry, I'd been to Paris once before and liked it very much, and so I just went. — Paul Auster

Forty years ago, at the dawn of molecular biology, the French biologist Jacques Monod wrote his famous book Chance and Necessity, which argues bleakly that the origin of life on earth was a freak accident, and that we are alone in an empty universe. The final lines of his book are close to poetry, an amalgam of science and metaphysics: The ancient covenant is in pieces; man knows at last that he is alone in the universe's unfeeling immensity, out of which he emerged only by chance. His destiny is nowhere spelled out, nor is his duty. The kingdom above or the darkness below: it is for him to choose. Since — Nick Lane

I was always interested in French poetry sort of as a sideline to my own work, I was translating contemporary French poets. That kind of spilled out into translation as a way to earn money, pay for food and put bread on the table. — Paul Auster

The peasantry had only recently been freed from slavelike servitude, and they were crushed with debt. The economy was stagnant. The country was hardly industrialized; there were not many factories. Though in St. Petersburg itself, nobles and sophisticates attended balls in Parisian gowns and discussed the poetry of the French, this ramshackle empire also included huge, frigid wastes of fir tree and tundra, deserts where the only inhabitants were nomadic families with their herds, and mountain towns that had never even heard the name of their distant ruler. — M T Anderson

Let's be honest - Bill Murray was onto something when he laughed at Andie MacDowell's degree in 19th century French poetry in 'Groundhog Day' — Marco Rubio

What does travel ultimately produce if it is not, by a sort of reversal, 'an exploration of the deserted places of my memory,' the return to nearby exoticism by way of a detour through distant places, and the 'discovery' of relics and legends: 'fleeting visions of the French countryside,' 'fragments of music and poetry,' in short, something like an 'uprooting in one's origins (Heidegger)? What this walking exile produces is precisely the body of legends that is currently lacking in one's own vicinity; it is a fiction, which moreover has the double characteristic like dreams or pedestrian rhetoric, or being the effect of displacements and condensations. As a corollary, one can measure the importance of these signifying practices (to tell oneself legends) as practices that invent spaces. — Michel De Certeau

I had art as a major, along with English, French and History. I had dance, modern dance. In English I was allowed to write my own poetry, which I eventually got published. — Sally Kirkland