We travellers are in very hard circumstances. If we say nothing but what has been said before us, we are dull and have observed nothing. If we tell anything new, we are laughed at as fabulous and romantic.
(Mary Wortley, Lady Montagu (1689-1762), British society figure, letter writer. letter, Mar. 10, 1718. Selected Letters, ed. Robert Halsband (1970).)
Prophecy today is hardly the romantic business that it used to be. The old tools of the trade, like the sword, the hair shirt, and the long fast in the wilderness, have given way to more contemporary, mundane instruments of doomthe book, the picket and the petition, the sit-in ... at City Hall.
(Jane Kramer (b. 1938), U.S. author. "The Ranks and Rungs of Mrs. Jacobs' Ladder," Off Washington Square (1963).)
The most passionate, consistent, extreme and implacable enemy of the Enlightenment and ... all forms of rationalism ... was Johann Georg Hamann. His influence, direct and indirect, upon the romantic revolt against universalism and scientific method ... was considerable and perhaps crucial.
(Isaiah Berlin (b. 1909), British educator, author. The Magus of the North: J.G. Hamann and the Origins of Modern Industrialism, p. 1, Farrar, Straus & Giroux (1993).)
The notion that the public accepts or rejects anything in modern art ... is merely romantic fiction.... The game is completed and the trophies distributed long before the public knows what has happened.
(Tom Wolfe (b. 1931), U.S. journalist, author. The Painted Word, ch. 2 (1975).)
Children are incurable romantics. Brimful of romance and tragedy, we whirl through childhood hopelessly in love with our parents. In our epic imagination, we love and are loved with a passion so natural and innocent we may never know its like as adults.
(Roger Gould (20th century), U.S. psychotherapist and author. Transformations, sec. 1, ch. 1 (1978).)
Every time I get romantic with you, you want to talk business. I don't know, there's something about me that brings out the business in every woman.
(George Kaufman, U.S. screenwriter, Morrie Ryskind, and Sam Wood. Otis B. Driftwood (Groucho Marx), A Night at the Opera, to his patron Mrs. Claypool (Margaret Dumont) in an attempt to woo her (1935).)
The boy is a Greek; the youth, romantic; the adult, reflective.
(Ralph Waldo Emerson (1803-1882), U.S. essayist, poet, philosopher. Oration, August 31, 1837, delivered before the Phi Beta Kappa Society, Cambridge, Massachusetts. "The American Scholar," repr. In Emerson: Essays and Lectures, ed. Joel Porte (1983).)