Quotes of All Topics . Occasions . Authors
O Prosperina, For the flowers now that, frighted, thou let'st fall From Dis's wagon; daffodils, That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength--a malady Most incident to maids; bold oxlips and The crown imperial; lilies of all kinds, The flower-de-luce being one.
Read poems to yourself in the middle of the night. Turn on a single lamp and read them while you're alone in an otherwise dark room or while someone else sleeps next to you. Read them when you're wide awake in the early morning, fully alert. Say them over to yourself in a place where silence reigns and the din of the culture — the constant buzzing noise that surrounds us — has momentarily stopped. These poems have come from a great distance to find you.
We're vulnerable to repeating history, especially if we don't know what's driving us. For example, it may be a family tradition to marry someone with addiction problems, or who is an injured bird in need of caretaking. Or, you may be drawn to guys who remind you of your distant, unavailable father -- or your ill-tempered mother -- with the unconscious belief that you can take an old story, and through the power of your love, give it a new, happy ending.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
Our children will not survive our habits of thinking, our failures of the spirit, our wreck of the universe into which we bring new life as blithely as we do. Mostly, our children will resemble our own misery and spite and anger, because we give them no choice about it. In the name of motherhood and fatherhood and education and good manners, we threaten and suffocate and bind and ensnare and bribe and trick children into wholesale emulation of our ways.
When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight. Some of you say, "Joy is greater than sorrow," and others say, "Nay, sorrow is the greater." But I say unto you, they are inseparable. Together they come, and when one sits alone with you at your board, remember that the other is asleep upon your bed. Verily you are suspended like scales between your sorrow and your joy.
Humanity looks upon Jesus the Nazarene as a poor-born Who suffered misery and humiliation with all of the weak. And He is pitied, for Humanity believes He was crucified painfully. . . . And all that Humanity offers to Him is crying and wailing and lamentation. For centuries Humanity has been worshiping weakness in the person of the Savior. The Nazarene was not weak! He was strong and is strong! But the people refuse to heed the true meaning of strength.
I was a working class Jewish girl. In my girlhood, anti-Semitism was a daily fact of life in Detroit. I did not come from people who had many options in their lives or many choices open to them. I was a girl in a family in which women were, as in society at large, very much second-class citizens. I did not see why I should accept these forced limitations without a fight. Being free to make my own choices thus became very important to me at an early age.
My own experience as a reader and writer has been that the more I read, and the more I live, the more different "types" of poetry I grow to love. I might not even believe anymore that there are "types" of poetry at all. I've come to love things I once would snootily have dismissed. Of course I still have my likes and dislikes, and there are things I think are just plain old bullshit, but more and more I am far more trusting of my loves than my dislikes.
I am the daughter of Earth and Water, And the nursling of the Sky; I pass through the pores of the ocean and shores; I change, but I cannot die. For after the rain when with never a stain The pavilion of Heaven is bare, And the winds and sunbeams with their convex gleams Build up the blue dome of air, I silently laugh at my own cenotaph, And out of the caverns of rain, Like a child from the womb, like a ghost from the tomb, I arise and unbuild it again.
You ought to love all mankind; nay, every individual of mankind. You ought not to love the individuals of your domestic circles less, but to love those who exist beyond it more. Once make the feelings of confidence and of affection universal, and the distinctions of property and power will vanish; nor are they to be abolished without substituting something equivalent in mischief to them, until all mankind shall acknowledge an entire community of rights.
Friends given by God in mercy and in love; My counsellors, my comforters, and guides; My joy in grief, my second bliss in joy; Companions of my young desires; in doubt My oracles; my wings in high pursuit. Oh! I remember, and will ne'er forget Our meeting spots, our chosen sacred hours; Our burning words, that utter'd all the soul, Our faces beaming with unearthly love;-- Sorrow with sorrow sighing, hope with hope Exulting, heart embracing heart entire.
My best friends when I was young were always doctors. I used to dress up in a white gauze helmet and go round and see babies born and cadavers cut open. This fascinated me, but I could never bring myself to disciplining myself to the point where I could learn all the details that one has to learn to be a good doctor. This is the sort of opposition: somebody who deals directly with human experiences, is able to cure, to mend, to help, this sort of thing.
Tremble with awe, O men! The insults God suffered for the sake of our salvation you too must endure! God is slapped on the face by the basest of slaves (Jn. 18:22). He gives you an example of victory, yet do you refuse to undergo this at the hands of a man of like passions as yourself? You are ashamed of becoming an imitator of God (Eph. 5:1), how then will you reign with Him and share in His glory in the kingdom of heaven if you do not endure that man?
I feel like the older I get, the truer it feels that I'm only going have an investment in a poem if it allows or forces me to bring something that's supremely me onto the page. I used to think that the speaker of a poem was talking to someone else, to some ideal reader or listener, but now I think that speakers - poets - are talking to themselves. The poem allows you to pose questions that you have you ask of yourself knowing that they are unanswerable.
If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves. The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Br?nnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.
To Mercy Pity Peace and Love All pray in their distress, And to these virtues of delight Return their thankfulness. For Mercy Pity Peace and Love Is God our father dear. And Mercy Pity Peace and Love Is Man his child and care. Then every man of every clime That prays in his distress Prays to the human form divine: Love Mercy Pity Peace. And all must love the human form In heathen, Turk, or Jew. Where Mercy, Love and Pity dwell There God is dwelling too.
Pleasure and pain at once register upon the lover, inasmuch as the desirability of the love object derives, in part, from its lack. To whom is it lacking? To the lover. If we follow the trajectory of eros we consistently find it tracing out this same route: it moves out from the lover toward the beloved, then ricochets back to the lover himself and the hole in him, unnoticed before. Who is the subject of most love poems? Not the beloved. It is that hole.
Travel releases spontaneity. You become a godlike creature full or choice, free to visit the stately pleasure domes, make love in the morning, sketch a bell tower, read a history of Byzantium, stare for one hour at the face of Leonardo da Vinci's 'Madonna dei fusi.' You open, as in childhood, and--for a time--receive this world. There's visceral aspect, too--the huntress who is free. Free to go, free to return home bringing memories to lay on the hearth.
And new philosophy calls all in doubt, The element of fire is quite put out; The sun is lost, and the earth, and no man's wit Can well direct him where to look for it. And freely men confess that this world's spent, When in the planets, and the firmament They seek so many new; then see that this Is crumbled out again to his atomies. 'Tis all in pieces, all coherence gone; All just supply, and all relation: Prince, subject, Father, Son, are things forgot.
The first cup caresses my dry lips and throat, The second shatters the walls of my loneliness, The third explores the dry rivulets of my soul Searching for legends of five thousand scrolls. With the fourth the pain of past injustice vanishes through my pores. The fifth purifies my flesh and bone. With the sixth I commune with the immortals. The seventh conveys such pleasure I am overcome. The fresh wind blows through my wings As I make my way to Penglai.
It is my assumption that growth in faith is the root of all spiritual growth and is prior to all disciplines of works. True spirituality is not a superhuman religiosity; it is simply true humanity released from bondage to sin and renewed by the Holy Spirit. This is given to us as we grasp by faith the full content of Christ's redemptive work: freedom from the guilt and power of sin, and newness of life through the indwelling and outpouring of his Spirit.
The Book, this Holy Book, on every line, Mark'd with the seal of high divinity, On every leaf bedew'd with drops of love Divine, and with the eternal heraldry And signature of God Almighty stamp'd From first to last; this ray of sacred light, This lamp, from off the everlasting throne, Mercy took down, and in the night of time Stood, casting on the dark her gracious bow; And evermore beseeching men With tears And earnest sighs, to read, believe and live.
My Papa's Waltz: The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy. We romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself. The hand that held my wrist Was battered on one knuckle; At every step you missed My right ear scraped a buckle. You beat time on my head With a palm caked hard by dirt, Then waltzed me off to bed Still clinging to your shirt.
Can you nominate in order now the degrees of the lie? I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth; the Countercheck Quarrelsome; the sixth, the Lie with Circumstance; the seventh, the Lie Direct. All these you may avoid but the Lie Direct; and you may avoid that too, with an If. . . . Your If is the only peace-maker; much virtue in If.
That was one of things that surprised me so much when I was writing the poems. The contrasts between the haves and have-nots is so complicated. It's financial of course, but it's also the lifestyle choices. The more money people have the further away from each other they often want to be. So while I loved not being hungry and having new gear, etc. I missed the sounds of my neighbors and the kind of generosity people who are struggling together often show.
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.
The story of scientific discovery has its own epic unity-a unity of purpose and endeavour-the single torch passing from hand to hand through the centuries; and the great moments of science when, after long labour, the pioneers saw their accumulated facts falling into a significant order-sometimes in the form of a law that revolutionised the whole world of thought-have an intense human interest, and belong essentially to the creative imagination of poetry.
The endless, useless urge to look on life comprehensively, to take a bird's-eye view of ourselves and judge the dimensions of what we have or have not done: this is life as landscape, or life as résumé. But life is incremental, and though a worthwhile life is a gathering together of all that one is, good and bad, successful and not, the paradox is that we can never really see this one thing that all of our increments (and decrements, I suppose) add up to.
Listen, children: Your father is dead. From his old coats I'll make you little jackets; I'll make you little trousers From his old pants. There'll be in his pockets Things he used to put there, Keys and pennies Covered with tobacco; Dan shall have the pennies To save in his bank; Anne shall have the keys To make a pretty noise with. Life must go on, Though good men die; Anne, eat your breakfast; Dan, take your medicine; Life must go on; I forget just why.
I never did know exactly what was meant by the term "The Beats," but let's say that the original meeting, association, comradeship of Allen Ginsberg, myself, Michael McClure, Lawrence Ferlinghetti, Philip Whalen, who's not here, Lew Welch, who's dead, Gregory Corso, for me, to a somewhat lesser extent (I never knew Gregory as well as the others) did embody a criticism and a vision which we shared in various ways, and then went our own ways for many years.
The little I have seen of the world teaches me to look upon the errors of others in sorrow, not in anger. When I take the history of one poor heart that has sinned and suffered, and represent to myself the struggles and temptations it has passed through, the brief pulsations of joy, the feverish inquietude of hope and fear, the pressure of want, the desertion of friends, I would fain leave the erring soul of my fellow-man with Him from whose hand it came.
Ancient poets and sages have called the earth the mother of all things. They could hardly have chosen a more attractive name, or one that was more appropriate. From her lap springs everything that possesses life and motion, everything that flourishes, fades, and has its fated day, and she tirelessly provides material for the countless varied bodies that are created -- and then abandoned -- by the life force in its unending, hidden progress through nature.
My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.
People probably long for something genuinely personal in a society where the personal is often indistinguishable from the "personalized." Maybe the poetry audience member is searching for his or her own "personal space" and they expect the poet to be a sort of avatar of the private life. But that sort of representation is distasteful to me. Asking a poet to represent the personal life is, paradoxically, to turn the poet into something other than a person.
FALLING STARS: Do you remember still the falling stars that like swift horses through the heavens raced and suddenly leaped across the hurdles of our wishes -- do you recall? And we did make so many! For there were countless numbers of stars: each time we looked above we were astounded by the swiftness of their daring play, while in our hearts we felt safe and secure watching these brilliant bodies disintegrate, knowing somehow we had survived their fall.
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.
We discover too late that we have turned a blind eye to the extinction of a species that is essential to the balance of life in a particular context. Or we discover too late that the importation of a foreign life-form, animal or vegetable, has upset local ecosystems, damaging soil or neighbouring life-forms. We discover that we have come near the end of supplies-of fossil-fuels for example -on which we have built immense structures of routine expectation.
There is something demoralizing about watching two people get more and more crazy about each other, especially when you are the only extra person in the room. It's like watching Paris from an express caboose heading in the opposite direction--every second the city gets smaller and smaller, only you feel it's really you getting smaller and smaller and lonelier and lonelier, rushing away from all those lights and excitement at about a million miles an hour.
Monks congregate like dogs in a kennel, From contact with their superiors they acquire knowledge, Is one the course of the wind, is one the water of the sea? Is one the spark of the fire, of unrestrainable tumult? Monks congregate like wolves, From contact with their superiors they acquire knowledge. They know not when the deep night and dawn divide. Nor what is the course of the wind, or who agitates it, In what place it dies away, on what land it roars.
The walking delegates of a higher civilization, who have nothing to divide, look upon the notion of property as a purely artificial creation of human society. According to these advanced philosophers, the time will come when no man shall be allowed to call anything his. The beneficent law which takes away an author's rights in his own books just at the period when old age is creeping upon him seems to me a handsome stride toward the longed-for millennium.
Do not forget, do not ever forget, that you have promised me to use the money to make yourself an honest man.' Valjean, who did not recall having made any promise, was silent. The bishop had spoken the words slowly and deliberately. He concluded with a solemn emphasis: Jean Valjean, my brother, you no longer belong to what is evil but to what is good. I have bought your soul to save it from black thoughts and the spirit of perdition, and I give it to God.
If you go off into general-interest magazines, often women are being shoved aside into various ghettos that perpetuate the problem. Women's interests are specialized, they're secondary; they're somewhere over to the side of the serious work that's being done. Throughout history, there have been ladies' magazines, ladies' journals, and for years there have been women writers who would refuse to participate in women-only sort projects because of that stigma.
When all by myself, I can think of all kinds of clever remarks, quick comebacks to what no one said, and flashes of witty sociability with nobody. But all of this vanishes when I face someone in the flesh: I lose my intelligence, I can no longer speak, and after half an hour I just feel tired. Talking to people makes me feel like sleeping. Only my ghostly and imaginary friends, only the conversations I have in my dreams, are genuinely real and substantial.
Large eyes were admired in Greece, where they still prevail. They are the finest of all when they have the internal look, which is not common. The stag or antelope eye of the Orientals is beautiful and lamping, but is accused of looking skittish and indifferent. "The epithet of 'stag-eyed,'" says Lady Wortley Montgu, speaking of a Turkish love-song, "pleases me extremely; and I think it a very lively image of the fire and indifference in his mistress' eye.
To love is good, too: love being difficult. For one human being to love another: that is perhaps the most difficult of all our tasks, the ultimate, the last test and proof, the work for which all other work is but preparation. Love is a high inducement to the individual to ripen, to become something in himself, to become world for himself for another's sake, it is a great exacting claim upon him, something that chooses him out and calls him to vast things.
Anyone who has read Yeats's wonderful Autobiography will remember his Sligo shabby, shadowed, half country and half sea, full of confused romance, superstition, poverty, eccentricity, unrecognized anachronism, passion and ignorance and the little boy's misery. Yeats was treated well but was bitterly unhappy; he prayed that he would die, and used often to say to himself: "When you are grown up, never talk as grown-up people do of the happiness of childhood.
When you begin to read a poem you are entering a foreign country whose laws and language and life are a kind of translation of your own; but to accept it because its stews taste exactly like your old mother's hash, or to reject it because the owl-headed goddess of wisdom in its temple is fatter than the Statue of Liberty, is an equal mark of that want of imagination, that inaccessibility to experience, of which each of us who dies a natural death will die.
I had been thinking about the question, "What do I love about America?" I kept coming back to this idea of community and home, which already obsessed me in my work. But I couldn't quite figure out how to lead beyond my immediate experience. Then I was just standing at the kitchen sink, and I watched the sun rise, and I thought, "How many hundreds of thousands of people are watching the same sun rise right now?" I just knew the poem would go from that line.
That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string I wound Three times her little throat around, And strangled her. No pain felt she; I am quite sure she felt no pain. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain. And I untightened the next tress About her neck; her cheek once more Blushed bright beneath my burning kiss . . .