Quotes of All Topics . Occasions . Authors
The villager, born humbly and bred hard, Content his wealth, and poverty his guard, In action simply just, in conscience clear, By guilt untainted, undisturb'd by fear, His means but scanty, and his wants but few, Labor his business, and his pleasure too, Enjoys more comforts in a single hour Than ages give the wretch condemn'd to power.
No two on earth in all things can agree; All have some darling singularity; Women and men, as well as girls and boys, In gewgaws take delight, and sigh for toys, Your sceptres and your crowns, and such like things, Are but a better kind of toys for kings. In things indifferent reason bids us choose, Whether the whim's a monkey or a muse.
I have written some poetry and two prose books about baseball, but if I had been a rich man, I probably would not have written many of the magazine essays that I have had to do. But, needing to write magazine essays to support myself, I looked to things that I cared about and wanted to write about, and certainly baseball was one of them.
I think Stephen Crane too becomes trapped in a myth that poetry should be operating at a certain level, that there's the real world and the reflection of that real world. I don't exist in any of these historical periods. I exist in the period in which I'm writing the book. So I only attempt to frame this in a way that I myself relate to.
I had studied Irish history. I had read speeches from the dock. I had tried to fuse the vivid past of my nation with the lost spaces of my childhood. I had learned the battles, the ballads, the defeats. It never occurred to me that eventually the power and insistence of a national tradition would offer me only a new way of not belonging.
The only chance for victory over the brainwash is the right of every man to have his ideas judged one at a time. You never get clarity as long as you have these packaged words, as long as a word is used by twenty-five people in twenty-five different ways. That seems to me to be the first fight, if there is going to be any intellect left.
Women are raised to be the nurturers and steadiers of rocked boats, to hold relationships in place as if our lives depended on it. But it shores up your own dignity and integrity if you're able to say, "There are a million things I love about you, and I want our relationship to continue. I forgive you 95 percent, but not this 5 percent."
For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche.
A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval 'Carmina Burana' - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
Poems offer us counter-knowledges. They let us see what is invisible to ordinary looking, and to find in overlooked corners the opulence of our actual lives. Similarly, we usually spend our waking hours trying to be sure of things - of our decisions, our ideas, our choices. We so want to be right. But we walk by right foot and left foot.
Tis chastity, my brother, chastity; She that has that is clad in complete steel, And, like a quiver'd nymph with arrows keen, May trace huge forests, and unharbour'd heaths, Infamous hills, and sandy perilous wilds; Where, through the sacred rays of chastity, No savage fierce, bandite, or mountaineer, Will dare to soil her virgin purity.
This is a marvel of the universe: To fling a thought across a stretch of sky-- Some weighty message, or a yearning cry, It matters not; the elements rehearse Man's urgent utterance, and his words traverse The spacious heav'ns like homing birds that fly Unswervingly, until, upreached on high, A quickened hand plucks off the message terse.
We want to make sure that women have a way to use all their gifts in society, to get educated, to be all they can be in the workforce, to really develop as people in all the ways that they can. We want this for men too! And we want this for children. Well this can't happen if this can be sandbagged by an ill-timed and unwanted pregnancy.
It seems all "protection" has to be monitored, considered, weighed and justified - I am suggesting we do that (but it's something Mary Shelley (and Gertrude Stein) also suggest). "Torch Song," the book's final section, looks at an arson committed by someone hired to protect the wilderness from fires, a catastrophic failure of protection!
The prospect of his future life stretched before him like a sentence; not a prison sentence but a long-winded sentence with a lot of unnecessary subordinate clauses, as he was soon in the habit of quipping during Happy Hour pickup time at the local campus bars and pubs. He couldn’t say he was looking forward to it, this rest-of-his-life.
Rand Paul tried hard to upstage Donald Trump at the first debate, talking tough about his guns and his right not to register them. But with his pixie-ish perm, Paul does not impress me as the gunslinger type. Rand Paul is the RuPaul of politics. He would do better to defend his right to carry an unregistered blow-dryer and curling irons.
Everything is gestation and bringing forth. To let each impression and each germ of feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one's own intelligence, and await with deep humility and patience the birth-hour of a new clarity: that alone is living the artist's life.
The disappointed man turns his thoughts toward a state of existence where his wiser desires may be fixed with the certainty of faith; the successful man feels that the objects which he has ardently pursued fail to satisfy the cravings of an immortal spirit; the wicked man turneth away from his wickedness, that he may save his soul alive.
It's easy to fight when everything's right And you're mad with the thrill and the glory; It's easy to cheer when victory's near, And wallow in fields that are gory. It's a different song when everything's wrong, When you're feeling infernally mortal; When it's ten against one, and hope there is none, Buck up, little soldier, and chortle!
Ponder deep wisdom, dark or clear, Each secret fishy hope or fear. Fish say, they have their Stream and Pond; But is there anything Beyond? This life cannot be All, they swear, For how unpleasant, if it were! One may not doubt that, somehow, Good Shall come of Water and of Mud; And, sure, the reverent eye must see A Purpose in Liquidity.
Care-charmer Sleep, son of the sable Night, Brother to Death, in silent darkness born, Relieve my languish and restore the light; With dark forgetting of my care return. And let the day be time enough to mourn The shipwreck of my ill adventured youth: Let waking eyes suffice to wail their scorn Without the torment of the night's untruth.
Lyric night of the lingering Indian Summer, Shadowy fields that are scentless but full of singing, Never a bird, but the passionless chant of insects, Ceaseless, insistent. The grasshopper's horn, and far-off, high in the maples, The wheel of a locust leisurely grinding the silence Under a moon waning and worn, broken, Tired with summer.
I've written some poems that are in the middle ground - who are in between very challenging and abundantly clear, but there's a tremendous investment in the challenging poem, and it's been going on so long that the whole infrastructure supporting it, a lot of critics and theorists and so on are deeply invested in maintaining that status.
And ye, who have met with Adversity's blast, And been bow'd to the earth by its fury; To whom the Twelve Months, that have recently pass'd Were as harsh as a prejudiced jury - Still, fill to the Future! and join in our chime, The regrets of remembrance to cozen, And having obtained a New Trial of Time, Shout in hopes of a kindlier dozen.
Ay, but to die and go we know not where; To lie in cold obstrution and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods or to reside In thrilling regions of thick-ribbed ice; To be imprison'd in the viewless winds, And blown with restless violence round about The pendant world.
Two households, both alike in dignity In fair Verona, where we lay our scene From ancient grudge break to new mutiny Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life Whose misadventured piteous overthrows Do with their death bury their parents' strife.
What you really have to know is one: yourself. And the only way you can know that one is in the mirror of the others. And the only way you can see into the mirror of the others is by love or its opposite—by profound emotion. Certainly not by curiosity—by dancing around asking, looking, making notes. You have to live relationships to know.
I was raised in a strict fundamentalist household, and I always say that gives you a muscle of belief. I want to believe in something, but I don't believe in what my parents believed in. Poetry has taken the place, or I think the arts have taken the place, of religion in my life. I wanted to see how that was working out through the poems.
But I also believe there is enormous value in the piece of writing that goes no further than the one person for whom it was intended, that no combination of written words is more eloquent than those exchanged in letters between lovers or friends, or along the pale blue lines of private diaries, where people take communion with themselves.
At times of crisis or distress, it's poems that people turn to. (Poetry) still has a power to speak to people's feelings, maybe in a way that fiction, because it works in a longer way, can't. There's a little bit of your brain that mourns and grieves that you're not writing poetry, but actually as long as I'm writing something, I'm happy.
Spending your time with true spiritual friends will fill you with love for all beings and help you to see how negative attachment and hatred are. Being with such friends, and following their example, will naturally imbue you with their good qualities, just as all the birds flying around a golden mountain are bathed in its golden radiance.
And death shall have no dominion. Under the windings of the sea They lying long shall not die windily; Twisting on racks when sinews give way, Strapped to a wheel, yet they shall not break; Faith in their hands shall snap in two, And the unicorn evils run them through; Split all ends up they shan't crack; And death shall have no dominion.
Could we forbear dispute, and practice love, We should agree as angels do above. Where love presides, not vice alone does find, No entrance there, hut virtues stay behind: Both faith, and hope, and all the meaner train, Of mortal virtues, at the door remain. Love only enters as a native there, For born in heav'n, it does but sojourn here.
You worthy critics, or whatever you may call yourselves, are ashamed or afraid of the momentary and passing madness which is found in all real creators, the longer or shorter duration of which distinguishes the thinking artist from the dreamer. Hence your complaints of unfruitfulness, for you reject too soon and discriminate too severely.
To long for that which comes not. To lie a-bed and sleep not. To serve well and please not. To have a horse that goes not. To have a man obeys not. To lie in jail and hope not. To be sick and recover not. To lose one's way and know not. To wait at door and enter not, and to have a friend we trust not: are ten such spites as hell hath not.
The French Revolution, Fichte's Theory of Knowledge, and Goethe's Wilhelm Meister are the three greatest tendencies of the age. Whoever takes offence at this combination, and whoever does not consider a revolution important unless it is blatant and palpable, has not yet risen to the lofty and broad vantage point of the history of mankind.
I don't think any poetry is written that isn't primarily written to the self, in a way... I'm always talking to myself. But I seem to want somebody else to listen to it. I need, I do want an audience. So it's a strange thing. It's a very private conversation that then, you make public, kind of, like, the starfish flipping its stomach out.
You have been told that, even like a chain, you are as weak as your weakest link. This is but half the truth. You are also as strong as your strongest link. To measure you by your smallest deed is to reckon the power of ocean by the frailty of its foam. To judge you by your failures is to cast blame upon the seasons for their inconstancy.
External realities - worlds of politics, economics, law, war, interpersonal and social relations - are part of prose fiction. Fiction also includes the realities of a character's interior language. Poetry can encompass the same realities, but in compressed, intensified language, which creates entirely different degrees of emotional force.
The New Hampshire girls who came to Lowell were descendants of the sturdy backwoodsmen who settled that State scarcely a hundred years before.... They were earnest and capable; ready to undertake anything that was worth doing. My dreamy, indolent nature was shamed into activity among them. They gave me a larger, firmer ideal of womanhood.
Eroticism is first and foremost a thirst for otherness. And the supernatural is the supreme otherness. This is perhaps the most noble aim of poetry, to attach ourselves to the world around us, to turn desire into love, to embrace, finally what always evades us, what is beyond, but what is always there – the unspoken, the spirit, the soul.
From the beginning I felt that I didn't ever want to leave the impression that the process of writing a poem is totally mysterious. I couldn't explain everything that went on in the creation of a poem, but I could try to explain as much as I knew. I thought readers deserved that. I didn't want to set myself apart as being someone special.
Now, helpless in the hollow of An unarmorial age, a trough Of smoke in slow suspended skeins Above their scrap of history, Only an attitude remains: Time has transfigured them into Untruth. The stone finality They hardly meant has come to be Their final blazon, and to prove Our almost-instinct almost true: What will survive of us is love.
We tend to be so bombarded with information, and we move so quickly, that there's a tendency to treat everything on the surface level and process things quickly. This is antithetical to the kind of openness and perception you have to have to be receptive to poetry.poetry seems to exist in a parallel universe outside daily life in America.
The claim that myth is always a narrative spin-off of ritual; the claim that myth is the projection of human anxieties onto a cosmological scrim; the claim that myths are invented to give sanction to human predilections and institutions... These are ways of trivializing a mode of thought that has served humanity well for a very long time.
The art of poetry consists in taking the poem through draft after draft, without losing its inspirational magic: he removes everything irrelevant or distracting, and tightens up what is left. Lazy poets never carry their early drafts far enough: some even believe that virtue lies in the original doodle scrawled on the back of an envelope.
Some writers, I'm told, look for their characters' surnames in telephone directories. I don't - it seems too obvious. Or too deliberate: if you go looking for names, you're bound to find them, of course, but I've always had a superstitious hunch that the names you find by accident are always going to be better and more satisfying somehow.
Wallace Stevens had more time to write as an insurance agent. He was a bond lawyer and I know that insurance company lawyers don't have to do nearly as much as we had to do. We were out more in the production area. I'm not condemning Stevens for having had a better job than I did, but that's one of the many places where I differ from him.
Whatever may have been said of the satiety of pleasure and of the disgust which usually follows passion, any man who has anything of a heart and who is not wretchedly and hopelessly blasé feels his love increased by his happiness, and very often the best way to retain a lover ready to leave is to give one's self up to him without reserve.
I work with a lot of young people who have poems that are changing their lives, that they're eager to talk about, but every now and then when I meet someone, maybe someone of my parents' generation, and I tell them that I write poetry, they'll begin to recite something that they memorized when they were in school that has never left them.