Quotes of All Topics . Occasions . Authors
This goodly frame, the earth, seems to me a sterile promontory, this most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours. What a piece of work is a man! how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust?
Through the forest have I gone. But Athenian found I none, On whose eyes I might approve This flower's force in stirring love. Night and silence.--Who is here? Weeds of Athens he doth wear: This is he, my master said, Despised the Athenian maid; And here the maiden, sleeping sound, On the dank and dirty ground. Pretty soul! she durst not lie Near this lack-love, this kill-courtesy. Churl, upon thy eyes I throw All the power this charm doth owe. When thou wakest, let love forbid Sleep his seat on thy eyelid: So awake when I am gone; For I must now to Oberon.
Ah, how wonderful is the advent of the Spring!—the great annual miracle.... which no force can stay, no violence restrain, like love, that wins its way and cannot be withstood by any human power, because itself is divine power. If Spring came but once in a century, instead of once a year, or burst forth with the sound of an earthquake, and not in silence, what wonder and expectation would there be in all hearts to behold the miraculous change!... We are like children who are astonished and delighted only by the second-hand of the clock, not by the hour-hand.
Yet, after all, faith is not our righteousness. It is accounted to us in order to righteousness (Rom 4:5, GREEK), but not as righteousness; for in that case it would be a work like any other doing of man, and as such would be incompatible with the righteousness of the Son of God; the righteousness which is by faith. Faith connects us with the righteousness, and is therefore totally distinct from it. To confound the one with the other is to subvert the whole gospel of the grace of God. Our act of faith must ever be a separate thing from that which we believe.
Since ancient times, the left side has stood for the side of the unconscious or the unknown; the right side, by contrast, has represented the side of consciousness or wakefulness. Through the late twentieth century, the movement of the Left limited themselves to a materialist understanding of reality- exemplified by Marxism- demanding social justice and economic equality but not the restoration of intuition and the recognition of the hidden, qualitative dimensions of being suppressed by the mental-rational consciousness, narrowly focused on the quantifiable.
As readers, we remain in the nursery stage so long as we cannot distinguish between taste and judgment, so long, that is, as the only possible verdicts we can pass on a book are two: this I like; this I don't like. For an adult reader, the possible verdicts are five: I can see this is good and I like it; I can see this is good but I don't like it; I can see this is good and, though at present I don't like it, I believe that with perseverance I shall come to like it; I can see that this is trash but I like it; I can see that this is trash and I don't like it.
Yes, the highest things are beyond words. That is probably why all art aspires to the condition of wordlessness. When literature works on you, it does so in silence, in your dreams, in your wordless moments. Good words enter you and become moods, become the quiet fabric of your being. Like music, like painting, literature too wants to transcend its primary condition and become something higher. Art wants to move into silence, into the emotional and spiritual conditions of the world. Statues become melodies, melodies become yearnings, yearnings become actions.
Is there anything on earth which would have meaning and would even change the course of events not only on earth, but in other worlds?” I asked my teacher. “There is,” my teacher answered me. “Well, what is it?” I asked. “It’s...” began my teacher and suddenly fell silent. I stood and waited intently for his answer. But he was silent. And I stood and was silent. And he was silent. And I stood, silent. And he was silent. We’re both standing and silent. Ho-la-la! We’re both standing and silent. Ho-le-le! Yes, yes, we’re both standing and silent! 16-17 July 1937
People who spend a great deal of time in their gardens attest to the natural mindfulness that gardening requires. What could be more naturally mindful than weeding? It requires a great deal of sustained attention. Weeds need to be taken up with care: Pull too hard, and the weed breaks in your fingers, leaving the root to grow and spread. Different weeds need different techniques and, sometimes, tools. When we weed our gardens, we have to pay attention to where and how we walk and bend. Move too far in one direction or another, and we'll squash growing things.
Years ago I went to the Wailing Wall in Jerusalem and did what all tourists there do: wrote some words on a scrap of paper that I tucked into a crevice in the wall. When I closed my eyes and touched my head to the warm stone, it came to me: "All language is prayer." This must be so. Who is it we are speaking to when we speak to anyone? To that person, and also past him or her to Out There. If there is language, it means there is the possibility of being heard, being met, being loved. And reaching out to be heard, met, or loved is a holy act. Language is holy.
Don't be upset. Don't listen to me. I only meant that I am jealous of a dark, unconscious element, something irrational, unfathomable. I am jealous of your toilet articles, of the drops of sweat on your skin, of the germs in the air you breathe which could get into your blood and poison you. And I am jealous of Komarovsky, as if he were an infectious disease. Someday he will take you away, just as certainly as death will someday separate us. I know this must seem obscure and confused, but I can't say it more clearly. I love you madly, irrationally, infinitely.
If I were poet now, I would not resist the temptation to trace my life back through the delicate shadows of my childhood to the precious and sheltered sources of my earliest memories. But these possessions are far too dear and sacred for the person I now am to spoil for myself. All there is to say of my childhood is that it was good and happy. I was given the freedom to discover my own inclinations and talents, to fashion my inmost pleasures and sorrows myself and to regard the future not as an alien higher power but as the hope and product of my own strength.
Here lies a she sun, and a he moon there; She gives the best light to his sphere; Or each is both, and all, and so They unto one another nothing owe; And yet they do, but are So just and rich in that coin which they pay, That neither would, nor needs forbear, nor stay; Neither desires to be spared nor to spare. They quickly pay their debt, and then Take no acquittances, but pay again; They pay, they give, they lend, and so let fall No such occasion to be liberal. More truth, more courage in these two do shine, Than all thy turtles have and sparrows, Valentine.
I wanted to pack a lot into the lyric, but not go beyond its bounds. Some have written that I wanted to expand what the lyric could do. I just want the hugeness of experience-which includes philosophical discursiveness-to move at a rate of speed that kept it (because all within one unity of experience) emotional. Also, often, questions became the way the poems propelled themselves forward It brings the reader in as a listener to a confession[.] A poem is a private story, after all, no matter how apparently public. The reader is always overhearing a confession.
If one believes philosophers, then what we call religion is only a deliberately popularized or an instinctively artless philosophy. Poets seem to consider religion rather as a variation of poetry which by misjudging its proper beautiful game takes itself too seriously and one-sidedly. Philosophy, however, admits and recognizes that it can begin and complete itself only with religion. Poetry seeks only to strive for the infinite and despises worldly utility and culture, which are the true antitheses of religion. Eternal peace among artists is thus not far away.
Poetry is perhaps this: an Atemwende, a turning of our breath. Who knows, perhaps poetry goes its way—the way of art—for the sake of just such a turn? And since the strange, the abyss and Medusa’s head, the abyss and the automaton, all seem to lie in the same direction—is it perhaps this turn, this Atemwende, which can sort out the strange from the strange? It is perhaps here, in this one brief moment, that Medusa’s head shrivels and the automaton runs down? Perhaps, along with the I, estranged and freed here, in this manner, some other thing is also set free?
What the Indians are saying is that they are recognizing the right of wilderness to be wilderness. Wilderness is not an extension of human need or of human justification. It is itself and it is inviolate, itself. This does not mean that, therefore, we become separated from it, because we don't. We stay connected if, once in our lives, we learn exactly what that connection is between our heart, our womb, our mind, and wilderness. And when each of us has her wilderness within her, we can be together in a balanced kind of way. The forever, we have that within us.
For I was reared in the great city, pent with cloisters dim,and saw naught lovely but the sky and stars.But thou, my babe! Shalt wander like a breeze By lakes and sandy shores, beneath the cragsOf ancient mountains, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shall thou see and hearThe lovely shapes and sounds intelligible Of that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and al things in himselfGreat universal teacher! He shall moldThy spirit and by giving , make it ask.
'Established' is a good word, much used in garden books, 'the plant, when established' ... Oh, become established quickly, quickly, garden! For I am fugitive, I am very fugitive - Those that come after me will gather these roses, And watch, as I do now, the white wisteria Burst, in the sunshine, from its pale green sheath. Planned. Planted. Established. Then neglected, Till at last the loiterer by the gate will wonder At the old, old cottage, the old wooden cottage, And say, 'One might build here, the view is glorious; This must have been a pretty garden once.
I ask but one thing of you, only one, That always you will be my dream of you; That never shall I wake to find untrue All this I have believed and rested on, Forever vanished, like a vision gone Out into the night. Alas, how few There are who strike in us a chord we knew Existed, but so seldom heard its tone We tremble at the half-forgotten sound. The world is full of rude awakenings And heaven-born castles shattered to the ground, Yet still our human longing vainly clings To a belief in beauty through all wrongs. O stay your hand, and leave my heart its songs!
Still stands the forest primeval; but far away from its shadow, Side by side, in their nameless graves, the lovers are sleeping.Under the humble walls of the little catholic churchyard,In the heart of the city, they lie, unknown and unnoticed;Daily the tides of life go ebbing and flowing beside them,Thousands of throbbing hearts, where theirs are at rest and forever,Thousands of aching brains, where theirs no longer are busy,Thousands of toiling hands, where theirs have ceased from their labors,Thousands of weary feet, where theirs have completed their journey!
Toward seven o'clock every morning, I leave my study and step Out on the bright terrace; the sun already burns resplendent Between the shadows of the fig tree, makes the low wall of coarse Granite warm to the touch. Here my tools lie ready and waiting, Each one an intimate, an ally: the round basket for weeds: The zappetta, the small hoe with a short haft . . . There's a rake here as well, at at times a mattock and spade, Or two watering cans filled with water warmed by the sun. With my basket and small hoe in hand, facing the sun, I Go out for my morning walk.
It is almost impossible to translate verbally and well at the same time; for the Latin (a most severe and compendious language) often expresses that in one word which either the barbarity or the narrowness of modern tongues cannot supply in more. ...But since every language is so full of its own proprieties that what is beautiful in one is often barbarous, nay, sometimes nonsense, in another, it would be unreasonable to limit a translator to the narrow compass of his author's words; it is enough if he choose out some expression which does not vitiate the sense.
We are living in a time of trouble and bewilderment, in a time when none of us can foresee or foretell the future. But surely it is in times like these, when so much that we cherish is threatened or in jeopardy, that we are impelled all the more to strengthen our inner resources, to turn to the things that have no news value because they will be the same to-morrow that they were to-day and yesterday — the things that last, the things that the wisest, the most farseeing of our race and kind have been inspired to utter in forms that can inspire ourselves in turn.
By now you know: I come from another planet. But I will never say to you, "Take me to your leaders." Even I--unused to your ways though I am--would never make that mistake. We ourselves have such beings among us, made of cogs, pieces of paper, small disks of shiny metal, scraps of coloured cloth. I do not need to encounter more of them. Instead I will say, "Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths." These are worth it. These are what I have come for.
Tools arm the man. One can well say that man is capable of bringing forth a world; he lacks only the necessary apparatus, the corresponding armature of his sensory tools. The beginning is there. Thus the principle of a warship lies in the idea of the shipbuilder, who is able to incorporate this thought by making himself into a gigantic machine, as it were, through a mass of men and appropriate tools and materials. Thus the idea of a moment often required monstrous organs, monstrous masses of materials, and man is therefore a potential, if not an actual creator.
Between the dusk of a summer night And the dawn of a summer day, We caught at a mood as it passed in flight, And we bade it stoop and stay. And what with the dawn of night began With the dusk of day was done; For that is the way of woman and man, When a hazard has made them one. Arc upon arc, from shade to shine, The World went thundering free; And what was his errand but hers and mine - The lords of him, I and she? O, it's die we must, but it's live we can, And the marvel of earth and sun Is all for the joy of woman and man And the longing that makes them one.
Love is the simplest of all earthly things. It needs no grandeur of celestial trust In more than what it is, no holy wings: It stands with honest feet in honest dust, And is the body's blossoming in clear air Of trustfulness and joyance when alone Two mortals pass beyond the hour's despair And claim that Paradise which is their own. Amid a universe of sweat and blood, Beyond the glooms of all the nations' hate, Lovers, forgetful of the poisoned mood Of the loud world, in secret ere too late A gentle sacrament may celebrate Before their private altar of the good.
Man designs for himself a garden with a hundred kinds of trees, a thousand kinds of flowers, a hundred kinds of fruit and vegetables. Suppose, then, that the gardener of this garden knew no other distinction between edible and inedible, nine-tenths of this garden would be useless to him. He would pull up the most enchanting flowers and hew down the noblest trees and even regard them with a loathing and envious eye. This is what the Steppenwolf does with the thousand flowers of his soul. What does not stand classified as either man or wolf he does not see at all.
Here when the labouring fish does at the foot arrive, And finds that by his strength but vainly he doth strive; His tail takes in his teeth, and bending like a bow, That's to the compass drawn, aloft himself doth throw: Then springing at his height, as doth a little wand, That, bended end to end, and flerted from the hand, Far off itself doth cast. so does the salmon vaut. And if at first he fail, his second sommersault He instantly assays and from his nimble ring, Still yarking never leaves, Until himself he fling Above the streamful top of the surrounded heap.
Take from my palms, to soothe your heart, a little honey, a little sun, in obedience to Persephone's bees. You can't untie a boat that was never moored, nor hear a shadow in its furs, nor move through thick life without fear. For us, all that's left is kisses tattered as the little bees that die when they leave the hive. Deep in the transparent night they're still humming, at home in the dark wood on the mountain, in the mint and lungwort and the past. But lay to your heart my rough gift, this unlovely dry necklace of dead bees that once made a sun out of honey.
I am attracted to looking at the different things language can mean even in one sometimes quite ordinary utterance. Writing is partly about listening closely to yourself as you think or compose and being aware of the different tensions and weights among the words, the different directions any one of them could lead. I like to play with the multiplicity and instability of meaning partly out of a sense of adventure, to see where that takes me and partly in a whistling past the graveyard kind of way because, of course, sensing stable meaning fall away can be scary.
Book burning is a charming old custom, hallowed by antiquity. It has been practiced for centuries by fascists, communists, atheists, school children, rival authors, and tired librarians. Like everything of importance since the invention of the cloak and the shroud, its origins are cloaked in mystery and shrouded in secrecy. Some scholars believe that the first instance of book burning occurred in the Middle Ages, when a monk was trying to illuminate a manuscript. All agree that book burning was almost non-existent during the period when books were made of stone.
I said, "I'll take the T-bone steak." A soft voice mooed, "Oh wow." And I looked up and realized The waitress was a cow. I cried, "Mistake--forget the the steak. I'll take the chicken then." I heard a cluck--'twas just my luck The busboy was a hen. I said, "Okay no, fowl today. I'll have the seafood dish." Then I saw through the kitchen door The cook--he was a fish. I screamed, "Is there anyone workin' here Who's an onion or a beet? No? Your're sure? Okay then friends, A salad's what I'll eat." They looked at me. "Oh,no," they said, "The owner is a cabbage head.
When your soul is pricked by compunction and gradually changed, it becomes a fountain flowing with rivers of tears and compunction. ... If any one of you ever happens to communicate with tears, whether you weep before the Liturgy or in the course of the divine Liturgy, or at the very time that you receive the divine Gifts, and does not desire to do this for the rest of his days and nights, it will avail him nothing to have wept merely once. It is not this alone that at once purifies us and makes us worthy; it is daily compunction that does not cease until death.
There is a time in our lives, usually in mid-life, when a woman has to make a decision - possibly the most important psychic decision of her future life - and that is, whether to be bitter or not. Women often come to this in their late thirties or early forties. They are at the point where they are full up to their ears with everything and they've "had it" and "the last straw has broken the camel's back" and they're "pissed off and pooped out." Their dreams of their twenties may be lying in a crumple. There may be broken hearts, broken marriages, broken promises.
Some things cannot be spoken or discovered until we have been stuck, incapacitated, or blown off course for a while. Plain sailing is pleasant, but you are not going to explore many unknown realms that way. We articulate the truth of a situation by carrying the whole experience in the voice and allowing the process to blossom of its own accord. Out of the cross-grain of experience appears a voice that not only sums up the process we have gone through, but allows the soul to recognize in its timbre, the color, texture, and complicated entanglements of being alive.
a connotation of infinity sharpens the temporal splendor of this night when souls which have forgot frivolity in lowliness,noting the fatal flight of worlds whereto this earth’s a hurled dream down eager avenues of lifelessness consider for how much themselves shall gleam, in the poised radiance of perpetualness. When what’s in velvet beyond doomed thought is like a woman amorous to be known; and man,whose here is alway worse than naught, feels the tremendous yonder for his own— on such a night the sea through her blind miles of crumbling silence seriously smiles
I love to go out in late September among the fat, overripe, icy, black blackberries to eat blackberries for breakfast, the stalks very prickly, a penalty they earn for knowing the black art of blackberry-making; and as I stand among them lifting the stalks to my mouth, the ripest berries fall almost unbidden to my tongue, as words sometimes do, certain peculiar words like strengths or squinched, many-lettered, one-syllabled lumps, which I squeeze, squinch open, and splurge well in the silent, startled, icy, black language of blackberry - eating in late September.
And some day there will be nothing left of everything that has twisted my life and grieved it and filled me so often with such anguish. Some day, with the last exhaustion, peace will come and the motherly earth will gather me back home. It won't be the end of things, only a way of being born again, a bathing and a slumbering where the old and the withered sink down, where the young and new begin to breathe. Then, with other thoughts, I will walk along streets like these, and listen to streams, and overhear what the sky says in the evening, over and over and over.
Some feminist critics debate whether we take our meaning and sense of self from language and in that process become phallocentric ourselves, or if there is a use of language that is, or can be, feminine. Some, like myself, think that language is itself neither male nor female; it is creatively expansive enough to be of use to those who have the wit and art to wrest from it their own significance. Even the dread patriarchs have not found a way to 'own' language any more than they have found a way to 'own' earth (though many seem to believe that both are possible).
The lyric abstrusities of Auden ring mystically down the circular canals of my ear and it begins to look like snow. The good gray conservative obliterating snow. Smoothing (in one white lacy euphemism after another) out all the black bleak angular unangelic nauseous ugliness of the blasted sterile world: dry buds, shrunken stone houses, dead vertical moving people all all all go under the great white beguiling wave. And come out transformed. Lose yourself in a numb dumb snow-daubed lattice of crystal and come out pure with the white virginal veneer you never had.
The greatest, like Rembrandt, paint a gallant, a hag, and a carcass with equal passion and rapture; they love the truth as it is. They do not admit that anything can be ugly or evil; its existence justifies itself. This is because they know themselves to be part of an harmonious unity; to disdain any item of it would be to blaspheme the whole. The Thelemite is able to revel in any experience soever; in each he recognizes the tokens of ultimate Truth. It is surely obvious, even intellectually, that all phenomena are interdependent, and therefore involve each other.
There's this pet phrase about writing that is bandied around particularly in workshops about "finding your own voice as a poet", which I suppose means that you come out from under the direct influence of other poets and have perhaps found a way to combine those influences so that it appears to be your own voice. But I think you could also put it a different way. You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
Lara walked along the tracks following a path worn by pilgrims and then turned into the fields. Here she stopped and, closing her eyes, took a deep breath of the flower-scented air of the broad expanse around her. It was dearer to her than her kin, better than a lover, wiser than a book. For a moment she rediscovered the purpose of her life. She was here on earth to grasp the meaning of its wild enchantment and to call each thing by its right name, or, if this were not within her power, to give birth out of love for life to successors who would do it in her place.
There is no learned man but will confess be hath much profited by reading controversies,--his senses awakened, his judgment sharpened, and the truth which he holds firmly established. If then it be profitable for him to read, why should it not at least be tolerable and free for his adversary to write? In logic they teach that contraries laid together, more evidently appear; it follows then, that all controversy being permitted, falsehood will appear more false, and truth the more true; which must needs conduce much to the general confirmation of an implicit truth.
I've been thinking about something for a long time, and I keep noticing that most human speech-if not all human speech-is made with the outgoing breath. This is the strange thing about presence and absence. When we breath in, our bodies are filled with nutrients and nourishment. Our blood is filled with oxygen, our skin gets flush; our bones get harder-they get compacted. Our muscles get toned and we feel very present when we're breathing in. The problem is, that when we're breathing in, we can't speak. So presence and silence have something to do with each other.
Without thinking, I knelt in the grass, like someone meaning to pray. When I tried to stand again, I couldn't move, my legs were utterly rigid. Does grief change you like that? Through the birches, I could see the pond. The sun was cutting small white holes in the water. I got up finally; I walked down to the pond. I stood there, brushing the grass from my skirt, watching myself, like a girl after her first lover turning slowly at the bathroom mirror, naked, looking for a sign. But nakedness in women is always a pose. I was not transfigured. I would never be free.
Let me tell you what I do know: I am more than one thing, and not all of those things are good. The truth is complicated. It’s two-toned, multi-vocal, bittersweet. I used to think that if I dug deep enough to discover something sad and ugly, I’d know it was something true. Now I’m trying to dig deeper. I didn’t want to write these pages until there were no hard feelings, no sharp ones. I do not have that luxury. I am sad and angry and I want everyone to be alive again. I want more landmarks, less landmines. I want to be grateful but I’m having a hard time with it.
Be helpless, dumbfounded, Unable to say yes or no. Then a stretcher will come from grace to gather us up. We are too dull-eyed to see that beauty. If we say we can, we’re lying. If we say No, we don’t see it, That No will behead us And shut tight our window onto spirit. So let us rather not be sure of anything, Beside ourselves, and only that, so Miraculous beings come running to help. Crazed, lying in a zero circle, mute, We shall be saying finally, With tremendous eloquence, Lead us. When we have totally surrendered to that beauty, We shall be a mighty kindness.