Quotes of All Topics . Occasions . Authors
If he is infinitely good, what reason should we have to fear him? If he is infinitely wise, what doubts should we have concerning our future? If he knows all, why warn him of our needs and fatigue him with our prayers? If he is everywhere, why erect temples to him? If he is just, why fear that he will punish the creatures that he has filled with weaknesses?
Like most of my poems, 'Lie' has several sources: I read a very troubling book called The Sixth Extinction. I took note of the way people, including me, enjoy talking knowledgeably about how the world will end. I drove to Tucson and saw the desert flowering on either side of the road. And I glanced at my spam to see what people wanted to sell me these days.
[Osip] Mandelstam, who wasn't a political thinker, loved the idea of the city-state. One of the emblems in his poetry of the politics he imagined, over and against the universalizing politics of [Carl] Marx, was the medieval city of Novgorod, which had in its center a public well where the water was free to everyone. That became for him a figure of justice.
Love Is the Treasure The temple of love is not love itself; True love is the treasure, Not the walls about it. Do not admire the decoration, But involve yourself in the essence, The perfume that invades and touches you- The beginning and the end. Discovered, this replaces all else, The apparent and the unknowable. Time and space are slaves to this presence.
I opened my eyes And looked up at the rain, And it dripped in my head And flowed into my brain, And all that I hear as I lie in my bed Is the slishity-slosh of the rain in my head. I step very softly, I walk very slow, I can't do a handstand-- I might overflow, So pardon the wild crazy thing I just said-- I'm just not the same since there's rain in my head.
Oh, I'm being eaten By a boa constrictor, A boa constrictor, A boa constrictor, I'm being eaten by a boa constrictor, And I don't like it--one bit. Well, what do you know? It's nibblin' my toe. Oh, gee, It's up to my knee. Oh my, It's up to my thigh. Oh, fiddle, It's up to my middle. Oh, heck, It's up to my neck. Oh, dread, It's upmmmmmmmmmmffffffffff . . .
I don't let a poem go into the world unless I feel that I've transformed the experience in some way. Even poems I've written in the past that appear very personal often are fictions of the personal, which nevertheless reveal concerns of mine. I've always thought of my first-person speaker as an amalgam of selves, maybe of other people's experiences as well.
The seen and seeing softly mutually strike Their glass barrier that arrests the sight. But the world's being hides in the volcanoes And the foul history pressed into its core; And to myself my being is my childhood And passion and entrails and the roots of senses; I'm pressed into the inside of a mask At the back of love, the back of air, the back of light.
I know that in a poem, even when the speaker is speaking from the poet's experience, there's always something that's borrowed, some authority that sits outside of the poet that the poem has claimed. There's a dramatic pitch that makes the speaker capable of saying something more courageous or stranger or simply other than what the poet would be able to say.
You have not known what you are - you have slumber'd upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return? The mockeries are not you; Underneath them, and within them, I see you lurk.
Were I the Moor I would not be Iago. In following him I follow but myself; Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, ’tis not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am
Oh, thou did'st then ne'er love so heartily. If thou rememb'rest not the slightest folly That ever love did make thee run inot, Thou has not loved. Of if thou has't not sat as I do now, Wearying they hearer in thy mistress's praise, Thou has not loved. Of if thou hast not broke from company Abruptly, as my passion now makes me, Thou has not loved. (Silvius)
Once in a while it vanishes - in the sense that I become deaf to beauty for a week or two or three. This coming and going of the inner life - because this is what it is - is a curse and a blessing. I don't need to explain why it's a curse. A blessing because it brings about a movement, an energy which, when it peaks, creates a poem. Or a moment of happiness.
To love one maiden only, cleave to her, And worship her by years of noble deeds, Until they won her; for indeed I knew Of no more subtle master under heaven Than is the maiden passion for a maid, Not only to keep down the base in man, But teach high thought, and aimable words And courtliness, and the desire of fame, And love of truth, and all that makes man.
To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming — like worms when a rock is lifted — under the huge abstract boulder of the meaningless blue sky.
Let the foundation of thy affection be virtue, then make the building as rich as glorious as thou canst; if the foundation be beauty or wealth, and the building virtue, the foundation is too weak for the building, and it will fall: happy is he, the palace of whose affection is founded upon virtue, walled with riches glazed with beauty, and roofed with honor.
Simplicity is the straightforwardness of a soul which refuses itself any reaction with regard to itself or its deeds. This virtue differs from and surpasses sincerity. We see many people who are sincere without being simple. They do not wish to be taken for other than what they are; but they are always fearing lest they should be taken for what they are not.
Of alle the floures in the mede, Than love I most these floures whyte and rede, Swiche as men callen daysies in our toun. . . . . Til that myn herte dye. . . . . That wel by reson men hit calle may The 'dayesye' or elles the 'ye of day,' The emperice and flour of floures alle. I pray to god that faire mot she falle, And alle that loven floures, for hir sake!
Hyesims poems: transformative as walking high granite mountains by moonlight, with fragrant herbs underfoot and a thermos of clear tea in the backpack. Their bedrock is thusness, their images beauty is pellucid and new, their view without limit. The shelf of essential Zen poets for American readers grows larger with this immediately indispensable collection.
Perhaps the enemies of liberty are such only because they judge it by its loud voice. If they knew its charms, the dignity that accompanies it, how much a free man feels like a king, the perpetual inner light that is produced by decorous self-awareness and realization, perhaps there would be no greater friends of freedom than those who are its worst enemies.
It's painful, but it's part of the recognition that makes real healing possible, if healing is possible (the jury is out on that, that's the usual phrase - should I say the jury is deadlocked?). Staying with the pain, attending to it, being present to and with it - that's the task, because that's the only (as far as I can tell) hope of finding a way forward.
Ah, love, let us be true To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain; And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.
I have always loved the gaps, the spaces between things, as much as the things. I love staring, pondering, mulling, puttering. I love the times when someone or something is late-there's that rich possibility of noticing more, in the meantimePoetry calls us to pause. There is so much we overlook, while the abundance around us continues to shimmer, on its own.
Heads in the Women's Ward On pillow after pillow lies The wild white hair and staring eyes; Jaws stand open; necks are stretched With every tendon sharply sketched; A bearded mouth talks silently To someone no one else can see. Sixty years ago they smiled At lover, husband, first-born child. Smiles are for youth. For old age come Death's terror and delirium.
I have told you of the Spaniard who always put on his spectacles when about to eat cherries, that they might look bigger and more attempting. In like manner I made the most of my enjoyment s: and through I do not cast my cares away, I pack them in as little compass as I can, and carry them as conveniently as I can for myself, and never let them annoy others.
Shiva... is the only hunter that will ever catch the wild swan; The prey she will take last is the wild white swan of the beauty of things. Then she will be alone, pure destruction, achieved and supreme, Empty darkness under the death-tent wings. She will build a nest of the swan's bones and hatch a new brood, Hang new heavens with new birds, all be renewed.
You have no idea how hard I've looked for a gift to bring You. Nothing seemed right. What's the point of bringing gold to the gold mine, or water to the ocean. Everything I came up with was like taking spices to the Orient. It's no good giving my heart and my soul because you already have these. So I've brought you a mirror. Look at yourself and remember me.
My uncle was famous for his balanced point of view. At the time of which I am writing (when he was nearly seventy) it had become so balanced, that the act of balancing seemed rather automatic.One had only to offer him an opinion for him to balance it with a counter- opinion of exactly the same weight, as a grocer puts a pound weight against a pound of sugar.
Fly away, pretty moth, to the shade Of the leaf where you slumbered all day; Be content with the moon and the stars, pretty moth, And make use of your wings while you may. . . . . But tho' dreams of delight may have dazzled you quite, They at last found it dangerous play; Many things in this world that look bright, pretty moth, Only dazzle to lead us astray.
Whenever we encounter the Infinite in man, however imperfectly understood, we treat it with respect. Whether in the synagogue, the mosque, the pagoda, or the wigwam, there is a hideous aspect which we execrate and a sublime aspect which we venerate. So great a subject for spiritual contemplation, such measureless dreaming - the echo of God on the human wall!
The virtuous to those mansions go Where pleasures unembitter'd flow, Where, leading up a jocund band, Vigor and Youth dance hand in hand, Whilst Zephyr, with harmonious gales, Pipes softest music through the vales, And Spring and Flora, gaily crown'd, With velvet carpet spread the ground; With livelier blush where roses bloom, And every shrub expires perfume.
Through me you pass into the city of woe: Through me you pass into eternal pain: Through me among the people lost for aye. Justice the founder of my fabric moved: To rear me was the task of power divine, Supremest wisdom, and primeval love. Before me things create were none, save things Eternal, and eternal I shall endure. All hope abandon, ye who enter here.
I think that as poets, we can get away with stuff because we can ride on the melt of metaphor. We cover a lot of terrain psychically and temporally and linguistically via metaphor, and that can be a stand-in for an argument, whereas in prose, you have to make the argument, and you have to be convincing because the sequence must make sense in time and purpose.
I love the best of all the traditions. My discipline is the take-no-prisoners language of good poetry, but a language that actually frees us from prejudice, no matter what religion or political persuasion they are. I try to create a river-like discourse. The river is not political, it's not on your side or against you. It's an invitation into the onward flow.
For this my mother wrapped me warm, And called me home against the storm, And coaxed my infant nights to quiet, And gave me roughage in my diet, And tucked me in my bed at eight, And clipped my hair, and marked my weight, And watched me as I sat and stood: That I might grow to womanhood To hear a whistle and drop my wits And break my heart to clattering bits.
The Making of Friends Life is sweet because of the friends we have made And the things which in common we share; We want to live on, not because of ourselves, But because of the ones who would care. It's living and doing for somebody else On that all of life's splendor depends, And the joy of it all, when we count it all up, Is found in the making of friends.
Let me follow in Thy footsteps, O Jesus ! I would imitate Thee, but cannot without the aid of Thy grace! O humble and lowly Saviour, grant me the knowledge of the true Christian, and that I may willingly despise myself; let me learn the lesson so incomprehensible to the mind of man, that I must die to myself by an abandonment that shall produce true humility.
In History, stagnant waters, whether they be the stagnant waters of custom or those of despotism, harbour no life; life is dependent on the ripples created by a few eccentric individuals. In homage to that life & vitality, the community has to brave certain perils and must countenance a measure of heresy. One must live dangerously if one wants to live at all.
Art is not and never has been subordinate to moral values. Moral values are social values; aesthetic values are human values. Morality seeks to restrain the feelings; art seeks to define them by externalizing them, by giving them significant form. Morality has only one aim - the ideal good; art has quite another aim - the objective truth... art never changes.
Sensibility... is a direct and particular reaction to the separate and individual nature of things. It begins and ends with the sensuous apprehension of colour, texture and formal relations; and if we strive to organize these elements, it is not with the idea of increasing the knowledge of the mind, but rather in order to intensify the pleasure of the senses.
Our God, who art our winged self, it is thy will in us that willeth. It is thy desire in us that desireth. It is thy urge in us that would turn our nights, which are thine, into days which are thine also. We cannot ask thee for aught, for thou knowest our needs before they are born in us: Thou art our need; and in giving us more of thyself thou givest us all.
Miss Havisham is a glitch in the smooth functioning of the Patriarchy, enforcing awareness of a moment of social disaster and personal shame, something it seems she would want us to forget (but no one would forget). (Maybe an interesting "discussion question" for readers of Complicated Grief might be, "What do Terry Barton and Miss Havisham have in common?"?)
The vice named surrealism is the immoderate and impassioned use of the stupefacient image or rather of the uncontrolled provocation of the image for its own sake and for the element of unpredictable perturbation and of metamorphosis which it introduces into the domain of representation; for each image on each occasion forces you to revise the entire Universe.
Once I witnessed a windstorm so severe two 100-year-old trees were uprooted on the spot. The next day, walking among the wreckage, I found the friable nests of birds, completely intact and unharmed on the ground. That the featherweight survive the massive, that this reversal of fortune takes place among us — that is what haunts me. I don’t know what it means.
There's sometimes when I feel really balanced, and there's other times when I feel like I'm trying to keep juggling too many balls in the air, and I feel like I'm on the edge of dropping all of them and having them all land on my head, you know? Scheduling is a big part of it, and the other is just remaining flexible and keeping a sense of humor about things.
The death-change comes. Death is another life. We bow our heads At going out, we think, and enter straight Another golden chamber of the king's Larger than this we leave, and lovelier. And then in shadowy glimpses, disconnect, The story, flower-like, closes thus its leaves. The will of God is all in all. He makes, Destroys, remakes, for His own pleasure, all.
Hello, darling. Sorry about that. Sorry about the bony elbows, sorry we lived here, sorry about the scene at the bottom of the stairwell and how I ruined everything by saying it out loud. Especially that, but I should have known. You see, I take the parts that I remember and stitch them back together to make a creature that will do what I say or love me back.
The bridge will only take you halfway there, to those mysterious lands you long to see. Through gypsy camps and swirling Arab fair, and moonlit woods where unicorns run free. So come and walk awhile with me and share the twisting trails and wondrous worlds I've known. But this bridge will only take you halfway there. The last few steps you have to take alone.
Contributing to others, not converting others, but for those who are interested, going where invited, speaking when asked, teaching when asked and so on, not proselytizing and missionary-izing. Not shoving the truth down people's throats, as if we know what's good for them. But being open when asked, when appropriate, and being very inclusive and open minded.
A wretched soul, bruised with adversity, We bid be quiet when we hear it cry. But were we burd'ned with like weight of pain, As much or more we should ourselves complain: So thou, that hast no unkind mate to grieve thee, With urging helpless patience wouldst relieve me; But if thou live to see like right bereft, This fool-begged patience in thee will be left.