We ought not to extract pernicious honey from poison blossoms of misrepresentation and mendacious half-truth, to pamper the course appetite of bigotry and self-love.
And all who heard should see them there, And all should cry, Beware! Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise.
Interpretation
What this quote means
This quote evokes a sense of wonder and reverence for a mysterious figure, warning listeners of his extraordinary nature.
The lines from Coleridge's poem create an image of an enigmatic presence that inspires both awe and fear. The description of the figure's 'flashing eyes' and 'floating hair' suggests that he possesses supernatural qualities, leading others to regard him with a mix of admiration and caution. The reference to 'honey-dew' and 'milk of Paradise' enhances his allure, implying he exists in a realm beyond the ordinary, arousing a sense of desire for the divine or the sublime.
Themes
In practice
Example use cases
In a discussion about the impact of mysticism in art, this quote serves to highlight the reverence artists hold for the extraordinary.
More from Samuel Taylor Coleridge
All quotes →Common sense in an uncommon degree is what the world calls wisdom.
Often do the spirits stride on before the event; and in today already walks tomorrow.
Mr. Lyell's system of geology is just half the truth, and no more. He affirms a great deal that is true, and he denies a great deal which is equally true; which is the general characteristic of all systems not embracing the whole truth.
To believe and to understand are not diverse things, but the same things in different periods of growth.
I look'd to Heav'n, and try'd to pray; But or ever a prayer had gusht, A wicked whisper came and made My heart as dry as dust.
Similar quotes
I made myself into a poet because it was the first thing I really loved. It was an act of will.
But most commonly, it's one poem that I work on with a lot of intensity.
The vampires have always been metaphors for me. They've always been vehicles through which I can express things I have felt very, very deeply.
And I think that after nearly 85 years upon this planet that I have a right after working so hard at showing the desolation and the poverty, to show something beautiful for somebody as well.
Hence it is from the representation of things spoken by means of posture and gesture that the whole of the art of dance has been elaborated.
A work can have in it a pent-up energy, an intense life of its own, independent of the subject it may represent.