Quotes of All Topics . Occasions . Authors
Oh, give us pleasure in the flowers to-day; And give us not to think so far away As the uncertain harvest; keep us here All simply in the springing of the year. Oh, give us pleasure in the orchard white, Like nothing else by day, like ghosts by night; And make us happy in the happy bees, The swarm dilating round the perfect trees.
The last thing a young artist should do in poetry or any other field is think about what's in style, what's current, what are the trends. Think instead of what you like to read, what do you admire, what you like to listen to in music. What do you like to look at in architecture? Try to make a poem that has some of those qualities.
Now it’s high watermark and floodtide in the heart and time to go. The sea-nymphs in the spray will be the chorus now. What’s left to say? Suspect too much sweet-talk but never close your mind. It was a fortunate wind that blew me here. I leave half-ready to believe that a crippled trust might walk and the half-true rhyme is love.
I intend 'Dämmerung' to be an ironic meditation on the financial rewards of poetry and a tragicomic lament on the passing of time and the changes in literary taste. The other poets mentioned are my poetic cohort from the U.K. I wrote the piece in situ, as it were, while making a television documentary about World War I in Germany.
Wanting things to be otherwise is the very essence of suffering. We almost never directly experience what pain is because our reaction to it is so immediate that most of what we call pain is actually our experience of resistance to that phenomenon. And the resistance is usually a good deal more painful than the original sensation.
What is precious is never to forget, The delight of the blood drawn from ancient springs, Breaking through rocks in worlds before our earth; Never to deny its pleasure in the simple morning light, Nor its grave evening demand for love; Never to allow gradually the traffic to smother, With noise and fog the flowering of the spirit.
Re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul; and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body.
I am more famed in Heaven for my works than I could well conceive. In my brain are studies & chambers filled with books & pictures of old, which I wrote and painted in ages of Eternity before my mortal life; and whose works are the delight & study of Archangels. Why, then, should I be anxious about the riches or fame of mortality?
All art that is not mere storytelling, or mere portraiture, is symbolic, and has the purpose of those symbolic talismans which medieval magicians made with complex colours and forms, and bade their patients ponder over daily, and guard with holy secrecy; for it entangles, in complex colours and forms, a part of the Divine Essence.
The things a man has heard and seen are threads of life, and if he pull them carefully from the confused distaff of memory, any who will can weave them into whatever garments of belief please them best. I too have woven my garment like another, but I shall try to keep warm in it, and shall be well content if it do not unbecome me.
One night, I lay awake for hours, just terrified. When the dawn finally came up - the comfortable blue sky, the familiar world returning - I could think of no other way to express my relief than through poetry. I made a decision there and then that it was what I wanted to do. Every time I pulled a wishbone, it was what I asked for.
When I attended the Berkeley Poetry Conference in 1965, I was very inspired. The collaboration of many poets from these alternative traditions - though there were not enough women - who were very much more influenced by, say, Asian forms or by Mantra or by thinking politically through their work in deeper ways really stuck with me.
I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor
In some ways painters have been more important in my life than writers. Painters teach you how to see—a faculty that usually isn’t highly developed in poets. Whether you take a walk in the woods with a painter, or go to a museum with one, through them you notice shapes, colors, harmonies, relationships that enhance your own seeing.
I do believe that one's writing life needs to be kept separate from Po-Biz. Personally, I deal with this by not attending too many poetry readings, primarily reading dead poets or poems in translation, reading Poets & Writers only once for grant/contest information before I quickly dispose of it, and not reading Poetry Daily. Ever.
But then if you lied to a man about his talent just because he was sitting across from you, that was the most unforgivable lie of them all, because that was telling him to go on, to continue which was the worst way for a man without real talent to waste his life, finally. But many people did just that, friends and relatives mostly.
To feel a full and untrammeled joy is to have become fully generous; to allow our selves to be joyful is to have walked through the doorway of fear, the dropping away of the anxious worried self...the vulnerability of happiness felt suddenly as a strength, a solace and a source, the claiming of our place in the living conversation.
I hate the word mentor, the professionalization of friendships between generations. I just feel like the fact of friendship is the thing we all adored, like the younger befriends or reaches out to their hero, and for me, whenever you meet some younger person, who has a fire in their gut, a way of being in the world, it excites you.
Take the serious side of Disney, the Confucian side of Disney. It's in having taken an ethoswhere you have the values of courage and tenderness asserted in a way that everybody can understand. You have got an absolute genius there. You have got a greater correlation of nature than you have had since the time of Alexander the Great.
Thy ignorance in unrevealed mysteries is the mother of a saving faith, and thy understanding in revealed truths is the mother of a sacred knowledge; understand not therefore that thou mayest believe, but believe that thou mayest understand; understanding is the wages of a lively faith and faith is the reward of an humble ignorance.
A cross borne in simplicity, without the interference of self-love to augment it, is only half a cross. Suffering in this simplicity of love, we are not only happy in spile of the cross, but because of it; for love is pleased in suffering for the Well Beloved, and the cross which forms us into His image is a consoling bond of love.
Death is not an evil, because it frees us from all evils, and while it takes away good things, it takes away also the desire for them. Old age is the supreme evil, because it deprives us of all pleasures, leaving us only the appetite for them, and it brings with it all sufferings. Nevertheless, we fear death, and we desire old age.
I love the joy of mountains Wandering free with no concerns Every day I find food for this old body There's leisure for thinking, nothing to do Often I carry an ancient book Sometimes I climb a rock pavilion To look down a thousand foot precipice Overhead are swirling clouds A cold moon chilly cold My body feels like a flying crane
O ye dead Poets, who are living still Immortal in your verse, though life be fled, And ye, O living Poets, who are dead Though ye are living, if neglect can kill, Tell me if in the darkest hours of ill, With drops of anguish falling fast and red From the sharp crown of thorns upon your head, Ye were not glad your errand to fulfill?
The modern poet has no essential alliance with regular schemes of any sorts.He reserves the right to adapt his rhythm to his mood, to modulate his metre as he progresses. Far from seeking freedom and irresponsibility (implied by the unfortunate term free verse) he seeks a stricter discipline of exact concord of thought and feeling.
In the storm, like a prophet o'ermaddened, Thou singest and tossest thy branches; Thy heart with the terror is gladdened, Thou forebodest the dread avalanches.... In the calm thou o'erstretchest the valleys With thine arms, as if blessings imploring, Like an old king led forth from his palace, When his people to battle are pouring.
Want is a bitter and a hateful good, Because its virtues are not understood; Yet many things, impossible to thought, Have been by need to full perfection brought. The daring of the soul proceeds from thence, Sharpness of wit, and active diligence; Prudence at once, and fortitude it gives; And, if in patience taken, mends our lives.
This living hand, now warm and capable Of earnest grasping, would, if it were cold And in the icy silence of the tomb, So haunt thy days and chill thy dreaming nights That thou would wish thine own heart dry of blood, So in my veins red life might stream again, And thou be conscience-calm'd. See, here it is-- I hold it towards you.
Say not, 'I have found the truth,' but rather, 'I have found a truth.' Say not, ' I have found the path of the soul.' Say rather, 'I have met the soul walking upon my path.' For the soul walks upon all paths. The soul walks not upon a line, neither does it grow like a reed. The soul unfolds itself, like a lotus of countless petals.
It is easier, of course, to find dignity in one's solitude. Loneliness is solitude with a problem. Can blue solve the problem, or can it at least keep me company within it?-No, not exactly. It cannot love me that way; it has no arms. But sometimes I do feel its presence to be a sort of wink-Here you are again, it says, and so am I.
Love blurs your vision; but after it recedes, you can see more clearly than ever. It's like the tide going out, revealing whatever's been thrown away and sunk: broken bottles, old gloves, rusting pop cans, nibbled fishbodies, bones. This is the kind of thing you see if you sit in the darkness with open eyes, not knowing the future.
The uppermost idea with Hellenism is to see things as they really are; the uppermost ideas with Hebraism is conduct and obedience.Nothing can do away with this ineffaceable difference. The Greek quarrel with the body and its desires is, that they hinder right thinking; the Hebrew quarrel with them is, that they hinder right acting.
The advertising men made it clear that there were two ways of looking at ideas in a war against fascism. Those of us who were working on the project believed ideas were to be fought for; the advertising men believed they were to be sold. The audience, those at home in wartime, were not 'citizens' or 'people.' They were 'customers.'
Billboards, billboards, drink this, eat that, use all manner of things, everyone, the best, the cheapest, the purest and most satisfying of all their available counterparts. Red lights flicker on every horizon, airplanes beware; cars flash by, more lights. Workers repair the gas main. Signs, signs, lights, lights, streets, streets.
But words came halting forth, wanting Invention's stay; Invention, Nature's child, fled stepdame Study's blows; And others' feet still seemed but strangers in my way. Thus, great with child to speak, and helpless in my throes, Biting my truant pen, beating myself for spite: "Fool," said my Muse to me, "look in thy heart, and write.
Make careful choice of the books which you read: let the holy scriptures ever have the pre-eminence, and, next to them, those solid, lively, heavenly treatises which best expound and apply the scriptures, and next, credible histories, especially of the Church... but take heed of false teachers who would corrupt your understandings.
That discipline which corrects the eagerness of worldly passions, which fortifies the heart with virtuous principles, which enlightens the mind with useful knowledge, and furnishes to it matter of enjoyment from within itself, is of more consequence to real felicity than all the provisions which we can make of the goods of fortune.
In A Glass of Cider It seemed I was a mite of sediment That waited for the bottom to ferment So I could catch a bubble in ascent. I rode up on one till the bubble burst, And when that left me to sink back reversed I was no worse off than I was at first. I'd catch another bubble if I waited. The thing was to get now and then elated.
Every midwife knows that not until a mother’s womb softens from the pain of labor will a way unfold and the infant find that opening to be born. Oh friend! There is treasure in your heart, it is heavy with child. Listen. All the awakened ones, like trusted midwives are saying, 'welcome this pain. It opens the dark passage of Grace.
All I'd ever heard my entire life in my family was, "Nobody wanted you, and we took you in." When you get that into your head at a tender age, you really feel like you are an unlovable human being, and then you behave like one. That's exactly what I had done. It took me many years to deal with my own violence and find my own niche.
Somebody has to go polish the stars, They're looking a little bit dull. Somebody has to go polish the stars, For the eagles and starlings and gulls Have all been complaining they're tarnished and worn, They say they want new ones we cannot afford. So please get your rags And your polishing jars, Somebody has to go polish the stars.
Equality does not mean that all plants must grow to the same height - a society of tall grass and dwarf trees, a jostle of conflicting jealousies. It means, in civic terms, an equal outlet for all talents; in political terms, that all votes will carry the same weight; and in religious terms that all beliefs will enjoy equal rights.
Can I see another's woe, And not be in sorrow too? Can I see another's grief, And not seek for kind relief? Can I see a falling tear, And not feel my sorrow's share? Can a father see his child Weep, nor be with sorrow filled? Can a mother sit and hear An infant groan, an infant fear? No, no! never can it be! Never, never can it be!
Labor is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear-eyed wisdom out of midnight oil. O chestnut tree, great-rooted blossomer, Are you the leaf, the blossom or the bole? O body swayed to music, O brightening glance How can we know the dancer from the dance?
But indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it; and I thank God I am not a woman, to be touched with so many giddy offenses as he hath generally taxed their whole sex withal.
Antonio: Will you stay no longer? nor will you not that I go with you? Sebastian: By your patience, no. My stars shine darkly over me; the malignancy of my fate might, perhaps, distemper yours; therefore I shall crave of you your leave that I may bear my evils alone. It were a bad recompense for your love to lay any of them on you.
As her sons have seen her: the mother in patriarchy: controlling, erotic, castrating, heart-suffering, guilt-ridden, and guilt-provoking; a marble brow, a huge breast, an avid cave; between her legs snakes, swamp-grass, or teeth; on her lap a helpless infant or a martyred son. She exists for one purpose: to bear and nourish the son.
The shadow-past is shaped by everything that never happened. Invisible, it melts the present like rain through karst. A biography of longing. It steers us like magnetism, a spirit torque. This is how one becomes undone by a smell, a word, a place, the photo of a mountain of shoes. By love that closes its mouth before calling a name.
When you put a tremendous amount of love into your work, as in any relationship, you can't know - you can only hope - that what you're offering will in some way be received. You shape your love to artistic demands, to the rigors of your genre. But still, it's a labor of love, and it's the nature of love that you must give it freely.
When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.