Nature quotes — Page 2

“The Garden,” posthumously published in Miscellaneous Poems (1681), represented through the public-domain Project Gutenberg text in The Quiet Life. The lines belong to a lyric meditation on solitude, mind, nature and Edenic imagery.

Character Building, “The Highest Education,” Project Gutenberg #60484. Washington places appreciation of beauty in nature alongside truth, justice, generosity and service as outcomes of education; this sentence belongs to the later address identified here rather than the earlier education address.

Journal of Researches / The Voyage of the Beagle, concluding chapter, represented by the public-domain Project Gutenberg work. Darwin continues by describing novelty, comparison and self-reliance as benefits of travel; the recommendation reflects nineteenth-century natural-history practice and its historical colonial setting.

“A Better Resurrection,” in Goblin Market and Other Poems (1862 first edition), Devotional Pieces, printed page 137 / scan leaf 153. “My life is in the falling leaf: O Jesus, quicken me” closes the first stanza as a direct Christian prayer for renewed life; the address to Jesus and resurrection frame are essential context and are not secularized into generic recovery advice.

“Another Spring,” Project Gutenberg #16950. The stanza begins conditionally—'If I might see another Spring'—so the present-focused conclusion grows from mortality and uncertainty.

“Spring,” Project Gutenberg #16950. This is a lyric reflection on transience, not a literal biological generalization about all life.

“Spring,” in Goblin Market and Other Poems; Project Gutenberg #16950. The surrounding poem also stresses that spring passes and that spring-life is born to die.

“The First Spring Day,” Project Gutenberg #16950. The stanza continues into explicitly spiritual hope about renewal in this world or the world to come.

“The First Spring Day,” Project Gutenberg #16950. The alternative 'world to come' makes the Christian eschatological dimension explicit.

“The Passionate Shepherd to His Love,” represented in Project Gutenberg #20356. The lyric survives through early printed witnesses and is a pastoral invitation by a poetic speaker; its promises are literary fantasy rather than a factual description of rural life.

John Halifax, Gentleman, represented by Project Gutenberg #2351. The phrase belongs to the first-person narrator Phineas Fletcher while describing the river; it is a literary simile inside the novel, not direct autobiography by Craik.

“A Child’s Grave at Florence,” stanza XV; Project Gutenberg #31015. The natural image belongs to an elegy for a specific child rather than a general theory of grief.

Aurora Leigh, Book VII, printed page 304 / Wikisource scan leaf 313, scan-backed Chapman and Hall third edition (London, 1857), cross-checked against Project Gutenberg #56621. Aurora’s “Earth’s crammed with heaven, And every common bush afire with God” belongs to an explicitly theistic argument about art, spiritual perception and the divine significance of ordinary nature. It remains poetic-religious narration rather than a scientific claim about nature.

Poems of Optimism, “Beauty”; Project Gutenberg #7421. The surrounding stanza describes autumn forests as a gallery of vivid colors; the line is poetic and devotional observation, not a scientific claim about aesthetic value.

Poems of Optimism, “Beauty”; Project Gutenberg #7421. The surrounding poem is explicitly religious and aesthetic, repeatedly connecting beauty with God, stars, sunsets and ordinary perception.

“Love and Friendship,” Project Gutenberg #1019. The comparison is a poetic metaphor, not a claim that friendship and romantic love always follow one fixed pattern.

“Love and Friendship,” Project Gutenberg #1019. The question belongs to the poem’s rose-and-holly metaphor for love and friendship.

“Remembrance,” in Poems by Currer, Ellis, and Acton Bell (1846); Project Gutenberg #1019. The line belongs to a dramatic lyric voice and is not biographical evidence by itself.

“A Light Exists in Spring,” Poems: Third Series; Project Gutenberg #12242. The passage belongs to an early edited edition whose punctuation and poem headings differ from modern critical texts.

“Beclouded,” Poems: First Series; Project Gutenberg #12242. The line is personification and comparison, not a literal claim that nature possesses human emotion or status.

The Secret Garden (1911), Chapter XXIII, “Magic.” Colin continues the chant with “Being alive is the Magic—being strong is the Magic.” This remains fictional child speech inside the novel’s recovery narrative and is not evidence that belief or positive thinking cures illness.

The Secret Garden (1911), Chapter XXVII, “In the Garden.” The unattributed embedded couplet “Where you tend a rose, my lad, A thistle cannot grow” follows the narrator’s claim that two contrary thoughts cannot occupy one place. It is a literary gardening metaphor and must not be presented as scientific or mental-health evidence.

The Secret Garden (1911), Chapter X, “Dickon.” Mary tells Dickon that this is a secret garden and that she is the only person who wants it to be alive. The sentence belongs to Mary Lennox’s fictional discovery/care plot rather than to Burnett speaking autobiographically.

The Life of Reason, Reason in Society; the sentence opens a discussion of family bonds and reciprocal interests.

“God’s Grandeur,” in Poems of Gerard Manley Hopkins Now First Published, Project Gutenberg #22403. Hopkins wrote the sonnet in 1877; it was published posthumously in 1918. The statement is Christian poetic belief, not an empirical description of nature.

“Pied Beauty,” written in 1877 and first published in Poems of Gerard Manley Hopkins (1918), represented by Project Gutenberg #22403. The poem is a Christian curtal sonnet of praise; its theological attribution of natural variety remains devotional poetry.

“Spring and Fall: to a young child,” written in 1880 and published posthumously in 1918, represented by Poetry Foundation. Margaret is the poem’s addressed child; the meditation is literary and theological rather than a clinical account of grief development.

The World I Live In (1908), Chapter IX, “Inward Visions,” printed page 119, Project Gutenberg #27683. Keller says that the wonders of the universe are revealed in proportion to our capacity to receive them and immediately connects keenness of vision with feeling, love of nature and imaginative receptiveness.

The Journal of Henry David Thoreau, August 19, 1851 entry, around printed page 405 in Journal II, represented by Project Gutenberg #59031. ‘How vain it is to sit down to write when you have not stood up to live!’ begins a paragraph in which Thoreau connects walking and bodily action with the flow of his own thoughts. It is dated autobiographical journal reflection and writing philosophy, not a rule that all writing requires literal standing or walking.

Walden, Conclusion; Thoreau closes the book by insisting that more day remains to dawn before describing the sun as only a morning star.

Walden, chapter “The Pond in Winter”; the line joins the immediate natural world with spiritual wonder.

A Lady's Life in the Rocky Mountains, Letter IX, Project Gutenberg #755. Bird calls the nearly thirty-mile cattle-hunt ride one of the most splendid she ever took and immediately describes galloping, fallen timber, rocky descents, deep rapid streams, elk and mountain scenery. This is nineteenth-century firsthand travel narrative, not present-day route, riding or safety guidance.

The Hawaiian Archipelago, represented by Project Gutenberg #6750. Bird writes in the first person about her own condition and outdoor life in Hawaiʻi. The historical self-report is not medical advice and does not establish that travel or open air will treat another person’s illness.

Unbeaten Tracks in Japan, represented by Project Gutenberg #2184. The sentence belongs to Bird’s first-person travel-letter narration and records her own enjoyment during the journey; nineteenth-century travel and cultural observations elsewhere in the work remain historical testimony.

The Call of the Wild, Project Gutenberg #215. The sentence introduces a passage about Buck leading the pack and is literary narration that also compares artistic and martial absorption; it is not a scientific definition of peak experience.

Matthew 6:28, King James Version; Jesus points listeners to the lilies while discussing anxiety about clothing and material provision.

Pepacton. Burroughs writes “Watch and wait” after describing an observation that corrected a gap in his own natural-history knowledge; the phrase is practical field-observation advice in literary natural history.

Pepacton, discussion of poetic interpretation of nature. Burroughs contrasts objective natural-history observation with the poet’s subjective idealization, using Shelley and Keats as examples.

Wake-Robin; the phrase belongs to Burroughs’s description of the naturalist’s expectant attention to the world nearby.

Wake-Robin; Burroughs uses the line while describing the alertness and discovery available to an attentive observer outdoors.

Wake-Robin; Burroughs describes the anticipatory state created by close engagement with birds, seasons, and other natural signs.

Wake-Robin; Burroughs reflects on close observation of natural life and the limits of easy comprehension.

Snow-Bound: A Winter Idyl, around printed page 22 in the represented Project Gutenberg #20226 illustrated witness. ‘What matter how the night behaved?...’ follows Whittier's remembered family gathered around the winter hearth and is immediately followed by his later-life reflection on the family members who have died. It is autobiographically rooted poetic memory shaped by nostalgia and bereavement, not a literal rule that home or warmth removes hardship.

Endymion: A Poetic Romance (1818), Book I, line 1, Project Gutenberg #24280, reproducing the Taylor and Hessey 1818 text. “A thing of beauty is a joy for ever” opens the poem’s mythic Romantic meditation on beauty; the statement remains a poetic proposition rather than empirical evidence that every aesthetic experience produces permanent happiness.

“Ode on Melancholy,” in Keats: Poems Published in 1820; Project Gutenberg #23684. This is Romantic poetic imagery and not mental-health treatment advice.

On the Grasshopper and Cricket, opening line.

On the Grasshopper and Cricket, final line; the cricket continues the earth’s poetry in winter.

“To Autumn,” final stanza, in Keats: Poems Published in 1820; Project Gutenberg #23684. The line follows the question “Where are the songs of Spring?” and answers by valuing autumn’s own sounds.

My First Summer in the Sierra, near the close of the summer journal.

My First Summer in the Sierra, June 13; the sentence follows his reflection on not hurrying like the trees and stars.

Our National Parks; the sentence occurs in Muir’s invitation to enter the mountains and receive their restorative influence.

The Mountains of California, immediately after Muir’s comparison of mountain hazards with the risks of home.

The Mountains of California, in a passage describing morning light on the mountains.

The Mountains of California; the surrounding paragraph discusses hazards in the mountains and fear of leaving home.

Travels in Alaska, mountain excursion near the Stickeen; Muir describes the effect of evening light after a strenuous day.

Travels in Alaska, early sea voyage; Muir moves from ocean scenery to imagining the globe and stars together.

Travels in Alaska, exploration of the Stickeen glaciers; Muir describes glacial processes as continuing creation.

The Prophet, “On Work.”

The Prophet, “On Work.”

“She Walks in Beauty,” first stanza, in Hebrew Melodies.

Thoughts on the Education of Daughters (1787), “MORAL DISCIPLINE,” printed page 22, Project Gutenberg #67466. Wollstonecraft urges that a taste for the beauties of nature be cultivated early and immediately recommends making the vegetable and animal worlds intelligible and amusing to children.

Final line of Ode to the West Wind; the changing seasons become a metaphor for historical and personal renewal.

Ode to the West Wind, opening line; Shelley addresses the autumn wind directly.

Psalm 19:1, King James Version; the psalm opens by treating the heavens and firmament as a form of testimony through creation.

Psalm 96:12, King James Version; the verse belongs to a sequence in which sea, fields, and trees participate figuratively in rejoicing.

Essay “History,” in Essays: First Series; the image appears in a passage about latent possibility.

Nature (first published 1836), Chapter I, “Nature,” in James Munroe and Company’s 1849 new-edition witness represented by Project Gutenberg #29433. A scan of the same 1849 J. Munroe edition places “Nature always wears the colors of the spirit” on printed page 9. Emerson is arguing that inward condition colors the experience of landscape; this is nineteenth-century Transcendentalist philosophy, not modern cognitive science, environmental psychology or a clinical claim.

Nature (first published 1836), Chapter VIII, “Prospects,” in James Munroe and Company’s 1849 new-edition witness represented by Project Gutenberg #29433. “The invariable mark of wisdom is to see the miraculous in the common” appears near the essay’s close during Emerson’s discussion of prayer, study, facts and ideas. This collection retains 1836 as first-publication year while the evidence layer identifies the reviewed 1849 witness; the sentence remains Transcendentalist philosophical rhetoric rather than an experimentally established measure of wisdom.

Nature Near London, “Woodlands”; Project Gutenberg #18629. The recommendation is literary nature writing rooted in Jefferies’s local seasonal observation, not contemporary travel guidance.

Nature Near London, Preface, Project Gutenberg #18629. The represented witness reads 'First, as the spring began, came crowds of chiffchaffs and willow-wrens'; the frozen catalog excerpt begins with 'as the spring began' and therefore drops the introductory 'First,'. Jefferies is recording one local observational experience near London, explicitly warning later in the Preface that season, locality and weather vary; it is not a universal present-day phenology schedule.

“To a Mountain Daisy,” written 1786, represented in Project Gutenberg #18388. This is the opening excerpt; Burns later extends the flower’s fate into reflections on human fragility and uncertainty.

“To Daffodils,” from Hesperides (1648), represented by Project Gutenberg #1211. The poem develops a conventional lyric comparison between short-lived flowers and human mortality.

“Kubla Khan,” published with Christabel in 1816 and represented in Project Gutenberg #11101. These are lyric-narrative lines describing the “deep romantic chasm”; the supernatural imagery is poetic invention.

The Rime of the Ancient Mariner, Part VII, Project Gutenberg #151. ‘He prayeth best, who loveth best / All things both great and small’ belongs to the Mariner's explicitly Christian concluding lesson after his supernatural ordeal, immediately following the parallel line about loving ‘Both man and bird and beast.’ It is fictional poetic speech and religious-moral language, not a neutral scientific, theological or animal-behavior proposition.

“A White Heron,” represented in Project Gutenberg #74980. The narrator asks this after Sylvia refuses to reveal the heron’s nesting place to a likable young hunter; the question preserves the story’s tension between human attachment, loyalty to nature and irreversible choice.

Gertrude of Wyoming, Part I, stanza IV, represented in The Poetical Works of Thomas Campbell, Project Gutenberg #59788, around printed page 46. Campbell's ‘exile ... from every clime’ lines idealize the pre-conflict Wyoming settlement before the poem turns toward violence associated with the 1778 Wyoming conflict. They remain Romantic historical-poetic framing rather than a factual demographic account of colonial Pennsylvania.

The Pleasures of Hope, Part I, represented in The Poetical Works of Thomas Campbell, Project Gutenberg #59788. ‘’Tis distance lends enchantment to the view’ appears in the poem's opening mountain image and immediately leads into a comparison with imagined future joys appearing more pleasing from afar. It remains Romantic poetic analogy and philosophical observation rather than an empirical law of visual perception, memory or decision-making.

“An August Midnight,” Project Gutenberg #3168. The line is poetic speculation about nonhuman knowledge rather than a scientific claim about insect cognition.

“An August Midnight,” Poems of the Past and the Present (1901), Project Gutenberg #3168. The five include the speaker and small creatures gathered around his writing table.

“De Profundis I,” Poems of the Past and the Present (1901), Project Gutenberg #3168. The poem reflects on recurring seasons and a past bereavement; it does not prescribe a universal grief timetable.

“De Profundis I,” Project Gutenberg #3168. The passage belongs to one speaker's reflection on bereavement and seasonal return.

“The Last Chrysanthemum,” Project Gutenberg #3168. The corpse comparison is figurative seasonal language inside the poem.

“The Last Chrysanthemum,” Poems of the Past and the Present (1901), Project Gutenberg #3168. Floral death is poetic seasonal imagery, not literal human bereavement.

Toilers of the Sea, Preface, represented by Project Gutenberg #32338 in W. Moy Thomas's English translation. 'Religion, Society, and Nature! these are the three struggles of man' opens Hugo's triadic framing of Notre-Dame de Paris, Les Misérables and Toilers of the Sea. It is translated authorial/literary framing, not a social-scientific taxonomy of every human struggle.

Opening of “Auguries of Innocence”; Blake places vastness inside tiny natural forms.

The Task, Book I, represented by Project Gutenberg #3698. “God made the country, and man made the town” appears in Cowper’s didactic contrast between urban fashion and rural life immediately before claims about health and virtue in fields and groves. It remains eighteenth-century poetic and Christian-inflected judgment rather than empirical evidence that country living is healthier or more virtuous.

“Margaritae Sorori,” represented by Wikisource. The poem is dated 1876 in collected-text traditions and was later gathered in Henley’s A Book of Verses (1888). It develops this serene evening scene into the speaker’s wish for an equally peaceful death; the single opening line is retained as nature imagery while the source note preserves the mortality context.

The Merchant of Venice, Act 5, Scene 1; Lorenzo speaks in the moonlit garden at Belmont.

The Merchant of Venice, Act 5, Scene 1; Lorenzo describes the stars above Belmont.

The Tempest, Act 3, Scene 2; Caliban reassures Stephano and Trinculo about the mysterious music of the island.

Lines Written a Few Miles above Tintern Abbey.

“She Dwelt among the Untrodden Ways,” second stanza.

The Tables Turned, final stanza; the speaker urges his friend to close the books and bring a receptive heart outdoors.

Poem “The Tables Turned.”

The Tables Turned; two adjacent lines are joined into one sentence.