Quotes of All Topics . Occasions . Authors
There's that layering of selves that we can have with someone else across a long relationship. I go to the baths, the Korean spa. I love looking at the maps of people's bodies. The women have so many mastectomy scars and ectopic pregnancy scars and stretch marks, and all these things are amazing and wondrous to me. I guess I find it stranger not to attend to flux than to attend to it. But in a relationship it's also scary - you don't know where you're going to end up when you go through change.
They are hypocrites, they think the Church is a cage to keep God in, so he will stay locked up there and not go wandering about the earth during the week, poking his nose into their business, and looking in the depths and darkness and doubleness of their hearts, and their lack of true charity; and they believed they need only be bothered about him on Sundays when they have their best clothes on and their faces straight, and their hands washed and their gloves on, and their stories all prepared.
The religion of art, like the religion of politics, was born from the ruins of Christianity. Art inherited from the old religion the power of consecrating things and endowing them with a sort of eternity; museums are our temples, and the objects displayed in them are beyond history. Politics--or more precisely, Revolution--co-opted the other function of religion: changing human beings and society. Art was an asceticism, a spiritual heroism; Revolution was the construction of a universal church.
I have seen the sun break through to illuminate a small field for a while, and gone my way and forgotten it. But that was the pearl of great price, the one field that had treasure in it. I realize now that I must give all that I have to possess it. Life is not hurrying on to a receeding future, nor hankering after an imagined past. It is the turning aside like Moses to the miracle of the lit bush, to a brightness that seemed as transitory as your youth once, but is the eternity that awaits you.
If you will cling to Nature, to the simple in Nature, to the little things that hardly anyone sees, and that can so unexpectedly become big and beyond measuring; if you have this love of inconsiderable things and seek quite simply, as one who serves, to win the confidence of what seems poor: then everything will become easier, more coherent and somehow more conciliatory for you, not in your intellect, perhaps, which lags marveling behind, but in your inmost consciousness, waking and cognizance.
Imagination is the politics of dreams; imagination turns every word into a bottle rocket. . . . Imagine every day is Independence Day and save us from traveling the river changed; save us from hitchhiking the long road home. Imagine an escape. Imagine that your own shadow on the wall is a perfect door. Imagine a song stronger than penicillin. Imagine a spring with water that mends broken bones. Imagine a drum which wraps itself around your heart. Imagine a story that puts wood in the fireplace.
You'd better discover a more important motive than publication for your work or else you'll go crazy. My sense is that you'll be writers only if you are convinced that to write is something for which there is no substitute in your life. You must therefore be ambitious for your work rather than for its promotion. The good news here is that if you assign secondary importance to publishing and primary to writing itself, you will write better, and will thus increase your odds of getting publishing.
The belief that politics can be scientific must inevitably produce tyrannies. Politics cannot be a science, because in politics theory and practice cannot be separated, and the sciences depend upon their separation. Empirical politics must be kept in bounds by democratic institutions, which leave it up to the subjects of the experiment to say whether it shall be tried, and to stop it if they dislike it, because, in politics, there is a distinction, unknown to science, between Truth and Justice.
Tell me, enigmatical man, whom do you love best, your father, Your mother, your sister, or your brother? I have neither father, nor mother, nor sister, nor brother. Your friends? Now you use a word whose meaning I have never known. Your country? I do not know in what latitude it lies. Beauty? I could indeed love her, Goddess and Immortal. Gold? I hate it as you hate God. Then, what do you love, extraordinary stranger? I love the clouds the clouds that pass up there Up there the wonderful clouds!
ROXANE: Live, for I love you! CYRANO: No, In fairy tales When to the ill-starred Prince the lady says 'I love you!' all his ugliness fades fast-- But I remain the same, up to the last! ROXANE: I have marred your life--I, I! CYRANO: You blessed my life! Never on me had rested woman's love. My mother even could not find me fair: I had no sister; and, when grown a man, I feared the mistress who would mock at me. But I have had your friendship--grace to you A woman's charm has passed across my path.
To read a lot of trash mixing the blood of war with business’s stench. To root out any happiness. To go out, and down, and on the road. To hesitate; to go on, and ahead, and back, and up the stairs, and in one’s room. On the way, to notice that the mountain is still there. To lie and sleep, deeply, heavily. To reproduce night’s sleep. To wake up, look through the window at green water, from the Bay to the mountain, and return to one’s self. To remember that war is devastating Irak. To feel pain.
There are two things. There was the moral responsibility, and that, first, is creating an atmosphere where the security forces can kill with impunity, where they can turn up at a place, shoot seven people - really at point-blank fashions - and then get away with it and be, in fact, promoted. And then there is the actual responsibility, the governmental responsibility. My aunt's government forbade us, initially, from filing a police report - which is every Pakistani citizen's right under the law.
The principle tragedy of my life is, like all tragedies, an irony of Destiny. I reject real life as if it were a condemnation; I reject dreams as if they were an ignoble liberation. [...]After the end of the stars uselessly whitened in the morning sky and the breeze became less cold in the barely orange tinged in the yellow of the light on the scattered low clouds, I, who hadn't slept, could finally, slowly raise my body, exhausted from nothing from the bed from which I had thought the universe.
My friends: Music is the language of spirits. Its melody is like the frolicsome breeze that makes the strings quiver with love. When the gentle fingers of Music knock at the door of our feelings, they awaken memories that have long lain hidden in the depths of the Past. The sad strains of Music bring us mournful recollections; and her quiet strains bring us joyful memories. The sound of strings makes us weep at the departure of a dear one, or makes us smile at the peace God has bestowed upon us.
Many animals even now spring out of the soil, Coalescing from the rains and the heat of the sun. Small wonder, then, if more and bigger creatures, Full-formed, arose from the new young earth and sky. The breed, for instance, of the dappled birds Shucked off their eggshells in the springtime, as Crickets in summer will slip their slight cocoons All by themselves, and search for food and life. Earth gave you, then, the first of mortal kinds, For all the fields were soaked with warmth and moisture.
First, I emptied the closets of your clothes, threw out the bowl of fruit, bruised from your touch, left empty the jars you bought for preserves. The next morning, birds rustled the fruit trees, and later when I twisted a ripe fig loose from its stem, I found it half eaten, the other side already rotting, or-like another I plucked and split open-being taken from the inside: a swarm of insects hollowing it. I'm too late, again, another space emptied by loss. Tomorrow, the bowl I have yet to fill.
All my desires are born of my dreams. And I have proven my love with words. To what fantastic creatures have I entrusted myself, in what dolorous and ravishing world has my imagination enclosed me? I am sure of having been loved in the most mysterious of domains, my own. The language of my love does not belong to human language, my human body does not touch the flesh of my love. My amorous imagination has always been constant and high enough so that nothing could attempt to convince me of error.
Ignorance is a treasure of infinite price that most men squander, when they should cherish its least fragments; some ruin it by educating themselves, others, unable to so much as conceive of making use of it, let it waste away. Quite on the contrary, we should search for it assiduously in what we think we know best. Leaf through a dictionary or try to make one, and you will find that every word covers and masks a well so bottomless that the questions you toss into it arouse no more than an echo.
And isn't the whole world yours? For how often you set it on fire with your love and saw it blaze and burn up and secretly replaced it with another world while everyone slept. You felt in such complete harmony with God, when every morning you asked him for a new earth, so that all the ones he had made could have their turn. You thought it would be shabby to save them and repair them; you used them up and held out your hands, again and again, for more world. For your love was equal to everything.
One of the things I love about translation is it obliterates the self. When I'm trying to figure out what Tu Fu has to say, I have to kind of impersonate Tu Fu. I have to take on, if you will, his voice and his skin in English, and I have to try to get as deeply into the poem as possible. I'm not trying to make an equivalent poem in English, which can't be done because our language can't accommodate the kind of metaphors within metaphors the Chinese written language can, and often does, contain.
If in some smothering dreams you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,-- My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est pro patria mori.
You thought I was that type: that you could forget me, and that I'd plead and weep and throw myself under the hooves of a bay mare, or that I'd ask the sorcerers for some magic potion made from roots and send you a terrible gift: my precious perfumed handkerchief. Damn you! I will not grant your cursed soul vicarious tears or a single glance. And I swear to you by the garden of the angels, I swear by the miracle-working ikon, and by the fire and smoke of our nights: I will never come back to you.
If ever two were one, then surely we. If ever man were lov'd by wife, then thee; If ever wife was happy in a man, Compare with me, ye women, if you can I prize thy love more than whole mines of Gold. Or all the riches that the East doth hold. My love is such that rivers cannot quench, Nor ought but love from thee, give recompense. Thy love is such I can no way repay, The heavens reward thee manifold repay, Then while we live, in love let's so persevere That when we live no more, we may live ever.
The illness has only made certain ambivalences I'd always been conscious of that much more acute. Life versus Death, the absolute randomness of one's position, privilege, and place, the lot one draws, and so on. It has made previously suspicious-seeming clichés seem more tolerable. Love may not be all you need, but it is certainly a necessity. My desire to survive has been exponentially magnified by the fact that there is someone intimately tangled up in me who would be left alone with the world.
I started moving away from poets like Wallace Stevens and Hart Crane and started reading poets like, again, Karl Shapiro, Howard Nemerov, Philip Larkin, and the British poets who were imported through that important anthology put together by Alvarez - and those would include Thom Gunn and Ted Hughes. And I think these poets gave me assurance that there were other ways to write besides the rather involuted style of high modernism whose high priests were Pound, Eliot and Stevens, and Crane perhaps.
I have a different idea of elegance. I don't dress like a fop, it's true, but my moral grooming is impeccable. I never appear in public with a soiled conscience, a tarnished honor, threadbare scruples, or an insult that I haven't washed away. I'm always immaculately clean, adorned with independence and frankness. I may not cut a stylish figure, but I hold my soul erect. I wear my deeds as ribbons, my wit is sharper then the finest mustache, and when I walk among men I make truths ring like spurs.
To-day I think Only with scents, - scents dead leaves yield, And bracken, and wild carrot's seed, And the square mustard field; Odours that rise When the spade wounds the root of tree, Rose, currant, raspberry, or goutweed, Rhubarb or celery; The smoke's smell, too, Flowing from where a bonfire burns The dead, the waste, the dangerous, And all to sweetness turns. It is enough To smell, to crumble the dark earth, While the robin sings over again Sad songs of Autumn mirth." - A poem called DIGGING.
The new painters do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the writer. Today, scholars no longer limit themselves to the three dimensions of Euclid. The painters have been lead quite naturally, one might say by intuition, to preoccupy themselves with the new possibilities of spatial measurement which, in the language of the modern studios, are designated by the term fourth dimension.
(On the temperature of water in wells) The reason why the water in wells becomes colder in summer is that the earth is then rarefied by the heat, and releases into the air all the heat-particles it happens to have. So, the more the earth is drained of heat, the colder becomes the moisture that is concealed in the ground. On the other hand, when all the earth condenses and contracts and congeals with the cold, then, of course, as it contracts, it squeezes out into the wells whatever heat it holds.
Everybody was going along thinking that it was a day like any other day, and bang, down went the Twin Towers. Changed everything. So you can't really predict the future, but you can say, "Boy, are those glaciers ever melting." You can measure that, and you can say, "When they're all melted there won't be any Athabasca River," and you can say, "What will happen to the oil sands then?" because you need a lot of water to make that oil. "Where's that going to come from?" You can say things like that.
God made the forests, the tiny stars, and the wild winds-and I think that he made them partly as a balance for that kind of civilization that would choke the spirit of joy out of our hearts. He made the great open places for the people who want to be alone with him and talk to him, away from the crowds that kill all reverence. And I think that he is glad at times to have us forget our cares and responsibilities that we may be nearer him-as Jesus was when he crept away into the wilderness to pray.
Too many poets write poems which are only difficult on the surface, difficult because the dramatic situation is easily misunderstood. It's not difficult to write poems that are misunderstood. A drunk, a three-year-old-they are easily misunderstood. What is difficult is being clear and mysterious at the same time. The dramatic situation needs to be as clear in a poem as it is in a piece of good journalism. The why is part of the mystery, but the who, what, where, and when should all be understood.
All things are sold: the very light of heaven is venal; earth's unsparing gifts of love, the smallest and most despicable things that lurk in the abysses of the deep, all objects of our life, even life itself, and the poor pittance which the laws allow of liberty, the fellowship of man, those duties which his heart of human love should urge him to perform instinctively, are bought and sold as in a public mart of not disguising selfishness, that sets on each its price, the stamp-mark of her reign.
Everybody has similar values. You travel around the world and everybody is different, but everybody is also the same in those ways. There's so much difference but there's so much similarity. Nobody wants to be harmed, or have their children, or their mates, or their relatives, or their families harmed, exploited, bombed, starved, dislocated, or become homeless refugees. So we're all similar in that way and spiritual life and religion is supposed to be part of the solution not part of the problem.
It was pleasant to me to get a letter from you the other day. Perhaps I should have found it pleasanter if I had been able to decipher it. I don't think that I mastered anything beyond the date (which I knew) and the signature (which I guessed at). There's a singular and a perpetual charm in a letter of yours; it never grows old, it never loses its novelty. Other letters are read and thrown away and forgotten, but yours are kept forever - unread. One of them will last a reasonable man a lifetime.
When we too are armed and trained, we can convince men that we have hands, feet, and a heart like yours; and although we may be delicate and soft, some men who are delicate are also strong; and others, coarse and harsh, are cowards. Women have not yet realized this, for if they should decide to do so, they would be able to fight you until death; and to prove that I speak the truth, amongst so many women, I will be the first to act, setting an example for them to follow. —Veronica Franco 1546-1591
I think it's good for anybody to learn languages. Americans are particularly limited in that way. Europeans less so... We're beginning to have Spanish move in on English in the states because of all the people coming from Hispanic countries... and we're beginning to learn some Spanish. And I think that's a good thing... Only having one language is very limiting... You get to think that's the way the human race is made; there's only one language worth speaking... Well, this isn't good for English.
What are the precise characteristics of an epigram it is not easy to define. It differs from a joke, in the fact that the wit of the latter dies in the words, and cannot therefore be conveyed in another language; while an epigram is a wit of ideas, and hence, is translatable. Like aphorisms, songs and sonnets, it is occupied with some single point, small and manageable; but whilst a song conveys a sentiment, a sonnet a poetical, and an aphorism a moral reflection, an epigram expresses a contrast.
Myself--a prince by fortune of my birth, Near to the king in blood, and near in love Till you did make him misinterpret me-- Have stooped my neck under your injuries And sighed my English breath in foreign clouds, Eating the bitter bread of banishment, Whilst you have fed upon my signories, Disparked my parks and felled my forest woods, From my own windows torn my household coat, Rased out my imprese, leaving me no sign, Save men's opinions and my living blood, To show the world I am a gentleman.
An honorable human relationship- that is, one in which two people have the right to use the word "love"- is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other. It is important to do this because it breaks down human self-delusion and isolation. It is important to do this because in doing so we do justice to our own complexity. It is important to do this because we can count on so few people to go that hard way with us.
. . . what humanity most desperately needs is not the creation of new worlds but the recreation in terms of human comprehension of the world we have -- and it is for this reason that arts go on for generation to generation in spite of the fact that Phidias has already carved and Homer has already sung. The creation, we are informed, was accomplished in seven days with Sunday off, but the recreation will never be accomplished because it is always accomplished anew for each generation of living men.
Days to come stand in front of us like a row of lighted candles— golden, warm, and vivid candles. Days gone by fall behind us, a gloomy line of snuffed-out candles; the nearest are smoking still, cold, melted, and bent. I don’t want to look at them: their shape saddens me, and it saddens me to remember their original light. I look ahead at my lighted candles. I don’t want to turn for fear of seeing, terrified, how quickly that dark line gets longer, how quickly the snuffed-out candles proliferate.
To create one must be able to respond. Creativity is the ability to respond to all that goes on around us, to choose from the hundreds of possibilities of though, feeling, action, and reaction and to put these together in a unique response, expression or message that carries moment, passion and meaning. In this sense, loss of our creative milieu means finding ourselves limited to only one choice, divested of, suppressing, or cendoring feelings and thoughts, not acting, not saying, doing, or being.
O your life, your lonely lifeWhat have you ever done with it,And done with the great gift of consciousness?What will you ever do before Death's knifeProvides the answer ultimate and appropriate?As I for my part felt in my heart as one who falls,Falls in a parachute, falls endlessly, and feels the vastDraft of the abyss sucking him down and down,An endlessly helplessly falling and appalled clown:This is the way the night passes by, thisIs the overnight endless trip to the famous unfathomable abyss.
Some of us are darkness lovers. We do not dislike the early and late daylight of June, but we cherish the increasing dark of November, which we wrap around ourselves in the prosperous warmth of wood stove, oil and electric blanket. Inside our warmth we fold ourselves, partly tuber, partly bear, in the dark and its cold - around us, outside us, safely away from us. We tuck ourselves up in the comfort of cold's opposite, warming ourslves by thought of the cold, lighting ourselves by darkness's idea.
When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.
The drama is not a mere copy of nature, not a facsimile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes; and you must read it, as the healthy instinct of audiences almost always does, if the critics will let them alone, with a grain of allowance, and a tendency to go away with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration.
And with listening, too, it seems to me, it is not the ear that hears, it is not the physical organ that performs the act of inner receptivity. It is the total person who hears. Sometimes the skin seems to be the best listener, as it prickles and thrills, say to a sound or a silence; or the fantasy, the imagination: how it bursts into inner pictures as it listens and then responds by pressing its language, its forms, into the listening clay. To be open to what we hear, to be open in what we say. .
Madame V begins the lesson by reading aloud the first stanza of a famous French poem: Il pleure dans mon coeur Comme il pleut sur la ville; Quelle est cette langueur Qui penetre mon coeur? Then she looks up and without any warning she calls on me to translate it. I swallow hard, and try: "It's raining in my heart like it's raining in the city. What is this sadness that pierces my heart?" Saying these words out loud, right in front of the whole class, makes me feel like I'm not wearing any clothes.
THE POISON TREE I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe; I told it not, my wrath did grow. And I water'd it in fears, Night & morning with my tears; And I sunned it with my smiles And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright; And my foe beheld it shine, And he knew that it was mine, And into my garden stole When the night had veil'd the pole: In the morning glad I see My foe outstretch'd beneath the tree.