Quotes of All Topics . Occasions . Authors
A nation that does not support and encourage its theater is - if not dead - dying; just as a theater that does not capture with laughter and tears the social and historical pulse, the drama of its people, the genuine color of the spiritual and natural landscape, has no right to call itself theater; but only a place for amusement.
Love sometimes gets tired of speaking sweetly and wants to rip to shreds all your erroneous notions of the truth that make you fight within yourself, dear one, and with others, causing the world to weep on too many fine days... The Beloved sometimes wants to do us a great favor: Hold us upside down and shake all the nonsense out.
The true historical genius, to our thinking, is that which can see the nobler meaning of events that are near him, as the true poet is he who detects the divine in the casual; and we somewhat suspect the depth of his insight into the past who cannot recognize the godlike of to-day under that disguise in which it always visits us.
God made sun and moon to distinguish the seasons, and day and night; and we cannot have the fruits of the earth but in their seasons. But God hath made no decrees to distinguish the seasons of His mercies. In Paradise the fruits were ripe the first minute, and in heaven it is always autumn. His mercies are ever in their maturity.
Give me books, fruit, French wine and fine weather and a little music out of doors, played by someone I do not know. I admire lolling on a lawn by a water-lilied pond to eat white currants and see goldfish: and go to the fair in the evening if I'm good. There is not hope for that -one is sure to get into some mess before evening.
So dear to heav'n is saintly chastity, That when a soul is found sincerely so, A thousand liveried angels lackey her, Driving far off each thing of sin and guilt, And in clear dream and solemn vision Tell her of things that no gross ear can hear, Till oft converse with heav'nly habitants Begin to cast a beam on th' outward shape.
Aristotle ... imputed this symphony of the heavens ... this music of the spheres to Pythagorus. ... But Pythagoras alone of mortals is said to have heard this harmony ... If our hearts were as pure, as chaste, as snowy as Pythagoras' was, our ears would resound and be filled with that supremely lovely music of the wheeling stars.
If there is anything good about exile, it is that it teaches one humility. It accelerates one’s drift into isolation, an absolute perspective. Into the condition at which all one is left with is oneself and one’s language, with nobody or nothing in between. Exile brings you overnight where it would normally take a lifetime to go.
My father told me that some voices are so true they can be used as weapons, can maneuver the weather, change time. He said that a voice that powerful can walk away from the singer if it is shamed. After my father left us, I learned that some voices can deceive you. There is a top layer and there is a bottom, and they don't match.
If we have not struggled/as hard as we can/at our strongest/how will we sense/the shape of our losses/or know what sustains/us longest or name/what change costs us,/saying how strange/it is that one sector/of the self can step in/for another in trouble,/how loss activates/a latent double, how/we can feed/as upon nectar/upon need?
I was unfair to him, of course, but where would I have been without unfairness? In thrall, in harness. Young women need unfairness, it's one of their few defenses. They need their callousness, they need their ignorance. They walk in the dark, along the edges of high cliffs, humming to themselves, thinking themselves invulnerable.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
My own time on earth has led me to believe in two powerful instruments that turn experience into love: holding and listening. For every time I have held or been held, every time I have listened or been listened to, experience burns like wood in that eternal fire, and I find myself in the presence of love. This has always been so.
The genius of the Marx Brothers is for parody. They never are themselves. They exist too abundantly to be content with being that - they must go on, by the rapidest of transitions, to being something else. Groucho, in my opinion the bright star among the three, is never anything but the thing he is at the moment pretending to be.
I stood willingly and gladly in the characters of everything - other people, trees, clouds. And this is what I learned, that the world's otherness is antidote to confusion - that standing within this otherness - the beauty and the mystery of the world, out in the fields or deep inside books - can re-dignify the worst-stung heart.
Blood will stream over Europe until the nations become aware of the frightful madness which drives them in circles. And then, struck by celestial music and made gentle, they approach their former altars all together, hear about the works of peace, and hold a great celebration of peace with fervent tears before the smoking altars.
A younger sister is someone to use as a guinea-pig in trying sledges and experimental go-carts. Someone to send on messages to Mum. But someone who needs you - who comes to you with bumped heads, grazed knees, tales of persecution. Someone who trusts you to defend her. Someone who thinks you know the answers to almost everything.
As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief n 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people.
I am probably going to pay for this at some point, but I think pretty much everyone I come into contact with is fair game. So I use real names sometimes if the poem says it happened like that. It feels right if I use the real person I reference. Of course the poem is all lies, even when it's true, so I guess I can sleep at night.
But for the present I would lie there and know I didn't have to get up, and feel the holy emptiness and blessed fatigue of a saint after the dark night of the soul. For God and Nothing have a lot in common. You look either one of Them straight in the eye for a second and the immediate effect on the human constitution is the same.
The gatherd storme is rype; the bigge drops falle;The forswat meadowes smethe, and drenche the raine;The comyng ghastness do the cattle pall,And the full flockes are drivynge ore the plaine;Dashde from the cloudes the waters flott againe;The welkin opes; the yellow levynne flies;And the hot fierie smothe in the wide lowings dies.
Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledge its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.
I had now been in the United States of America something like five years, working here and there as the inclination seized me, which, I must confess, was not often. I was certainly getting some enjoyment out of life, but now and then the waste of time appalled me, for I still have a conviction that I was born to a different life.
In the same way, you were happy in spring, With the half colors of quarter-things, The slightly brighter sky, the melting clouds, The single bird, the obscure moon- The obscure moon lighting an obscure world Of thing that would never be quite expressed, Where you yourself were never quite yourself And did not want nor have to be.
The king is but a man, as I am; the violet smells to him as it doth to me; the element shows to him as it doth to me; all his senses have but human conditions; his ceremonies laid by, in his nakedness he appears but a man; and though his affections are higher mounted than ours, yet, when they stoop, they stoop with the like wing.
I define poetry as celebration and confrontation. When we witness something, are we responsible for what we witness? That's an on-going existential question. Perhaps we are and perhaps there's a kind of daring, a kind of necessary energetic questioning. Because often I say it's not what we know, it's what we can risk discovering.
And while one is brought up with luxury and caresses, and is thrown bewildered and despairing into a dark pit, another is lifted from the pit and raised to a throne where a jeweled crown is placed on his head. The world has no shame in doing this; it is prompt to hand out both pleasure and pain and has no need of us an our doings.
I am a feminist because I feel endangered, psychically and physically, by this society and because I believe that the women's movement is saying that we have come to an edge of history when men - insofar as they are embodiments of the patriarchal idea - have become dangerous to children and other living things, themselves included
I think it is the easiest mentality for a human being to be either colonized or to colonize. The structure of either the slave or the master seems to be the simplest and the most relaxing one to slip into. Either you are a slave, and you don't have to think for yourself, or you're a master, and you don't have to work for yourself.
Among friends one has the privilege of saying nothing; the civility consists in the assumption that one's silence will be civilly understood. I can imagine a small gathering of friends who say nothing all evening: they recoil from saying anything that the others don't want to hear; and their silence would be the subtlest courtesy.
It is easy to forget how mysterious and mighty stories are. They do their work in silence, invisibly. They work with all the internal materials of your mind and self. They become part of you while changing you. Beware the stories you read or tell; subtly, at night, beneath the waters of consciousness, they are altering your world.
There's a small balcony here, the door is open and I can see the lights of the cars on the Harbor Freeway south, they never stop, that roll of lights, on and on. All those people. What are they doing? What are they thinking? We're all going to die, all of us, what a circus! That alone should make us love each other but it doesn't.
The ladies men admire, I've heard, Would shudder at a wicked word. Their candle gives a single light, They'd rather stay at home at night. They do not keep awake 'till three, Nor read erotic poetry. They never sanction the impure, Nor recognize an overture. They shrink from powders and from paints... So far I've had no complaints.
I have the idea that lyric poetry is a poetry that's driven by a sense of the presence of death. That there's something unbearable about the fact that we're going to die and that we can't stand it and I think you find that out in childhood and you don't really - at least I found it out in childhood and I found it hard to get over.
Commemoration of Brooke Foss Westcott, Bishop of Durham, Teacher, 1901 Be not afraid to pray... to pray is right. Pray if thou canst with hope; but ever pray Though hope be weak, or sick with long delay. Whatever is good to wish, ask that of heaven; But if for any wish thou darest not pray, Then pray to God to cast that wish away.
On the waves of the brook she dances by, The light, the lovely dragon-fly; She dances here, she dances there, The shimmering, glimmering flutterer fair. And many a foolish young beetle's impressed By the blue gauze gown in which she is dressed; They admire the enamel that decks her bright, And her elegant waist so slim and slight.
An enormous amount of art and literature is erotic in the sense that it stimulates vague sexual emotions, but it has no pornographic intention or effect because "it leaves everything to the imagination." The consumer has to invent his own images, and it is felt, I do not know with what justification, that there is no harm in this.
Evil can be got very easily and exists in quantity: the road to her is very smooth, and she lives near by. But between us and virtue the gods have placed the sweat of our brows; the road to her is long and steep, and it is rough at first; but when a man has reached the top, then she is easy to attain, although before she was hard.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
Suddenly all the sky is hid As with the shutting of a lid, One by one great drops are falling Doubtful and slow, Down the pane they are crookedly crawling, And the wind breathes low; Slowly the circles widen on the river, Widen and mingle, one and all; Here and there the slenderer flowers shiver, Struck by an icy rain-drop’s fall.
In this twenty-first century, there's no one like Sharona Muir who can write, in bright accurate language, animals real or imaginary in an updated bestiary that riffs on evolution, extinction, and what it means to be human among other species. We need this view, and you'll be right there with her on every page of Invisible Beasts.
These eyes, tho' clear To outward view of blemish or of spot, Bereft of light, their seeing have forgot, Nor to their idle orbs doth sight appear Of sun, or moon, or star, throughout the year, Or man, or woman. Yet I argue not Against Heaven's hand or will, not bate a jot Of heart or hope; but still bear up and steer Right onward.
I think women have the right to consult their own wishes, needs, and capacities and produce only loved, wanted children they can care for - or even no children at all. I think we would all be better off as a society if we respected women's ability to make these decisions for themselves and concentrated on caring well for the born.
The moral issues with which Marcus struggles would be, as he points out, unchanged whether the universe were mechanical and devoid of meaning or value or ruled by deity or Providence; whether the will were in fact free or determined; whether there were or were not a future life, or any even fugitive rewards and punishments at all.
I can tell that I shaped the book very deliberately, after a great deal of thought, and that I insisted this piece function as a prologue, but I find the word "intention," confusing ("trust the art," as D.H. Lawrence said, "not the artist"). These speculations are perhaps better responded to by text and reader, rather than author.
The one good thing to be said about announcing yourself as a writer in the colonial Canadian fifties is that nobody told me I couldn't do it because I was a girl. They simply found the entire proposition ridiculous. Writers were dead and English, or else extremely elderly and American; they were not sixteen years old and Canadian.
What will you do today, knowing that you are one of the rarest forms of life to ever walk the Earth? How will you carry yourself? What will you do with your hands? Tomorrow you could die, but today you are precious and rare and awake. Grateful and awake, ask what you need to know now. Say what you feel now. Love what you love now.
Commerce has set the mark of selfishness, the signet of its all-enslaving power, upon a shining ore, and called it gold: before whose image bow the vulgar great, the vainly rich, the miserable proud, the mob of peasants, nobles, priests, and kings, and with blind feelings reverence the power that grinds them to the dust of misery.
At no other time (than autumn) does the earth let itself be inhaled in one smell, the ripe earth; in a smell that is in no way inferior to the smell of the sea, bitter where it borders on taste, and more honeysweet where you feel it touching the first sounds. Containing depth within itself, darkness, something of the grave almost.
There would have to be bread, some rich, whole-grain bread and zwieback, and perhaps on a long, narrow dish some pale Westphalian ham laced with strips of white fat like an evening sky with bands of clouds. There would be some tea ready to be drunk, yellowish golden tea in glasses with silver saucers, giving off a faint fragrance.