... whatever is not happening now is unimportant; it is merely curious.
Anger is precious because it is an immediate, undeniable clue to what our minds (so much more cautious in rejection and resistance than our bodies) will not tolerate.
Every woman must live by some sense of victory over disappointments, and Olympias was not the sort of woman to find compensation in her own powers of self-control and endurance.
We wait, all, for a story of us that shall reach to where we are. We listen for our own speaking; and we hear much that seems our speaking, yet makes us strange to ourselves.
In religion is much tiredness of people, a giving over of their doing to Someone Else.
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.
Spiritually, the society we have is the society of men with women present only in adjunctive relation to them, not the society of men and women in reciprocal relation. We do not have the society of human beings.
There can be no literary equivalent to truth.
The anthology meets with two different kinds of reactions in living poets. They will either write toward the anthology or away from it. Anti-anthology poets often overreach themselves, inflicting protective distortions on their work - as parents in old Central Europe often deliberately maimed their sons to save them from compulsory military service.
A religion addresses the longing in us to have that said from which we can go on to speak of next and next things rightly, in their immediate time - the telling of what came first and before done forever.
'God' is the name given to the most 'important' human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?'
Poetry is a sleep-maker for that which sits up late in us listening for the footfall of the future on to-day's doorstep.
Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination.
She [Venison] had never travelled and so could invent all kinds of strange places without being limited, as travelled people are, by knowledge of certain places only.
The terms 'male' and 'female' must be understood as representing no mere primitive opposition of sex to sex; but as defining two worlds of differing quality, in either of which men and women may jointly move and live.
Women from earliest times have been used as conveniences of communication with unseen, inaccessible powers, but always in the sense that such exposing of self to dangerous mysteries, such destruction of the understanding as was required to become the slave of unseen powers, did not matter because the communicant was only a woman, in herself an undetermined cipher - a nothing.
Metaphor is, as a common feature of linguistic practice, an incidental expediency, a homely administering of first-aid by mother-wit to jams or halts in expression suddenly confronting speakers, with no respectable linguistic solution immediately in sight.
The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.
When ... I comprehended that poetry had no provision in it for ultimate practical attainment of the rightness of work that is truth, but led on ever only to a temporizing less- than-truth ... I stopped.
Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds. But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values.
Politics have always covered two distinct kinds of problems: problems of administrative routine, and those that may be called 'questions of the moment.' A question of the moment is, indeed, a substitute for some notion, such as the idea of God, or hereditary monarchy, or national glory, that has hitherto acted as a symbol of human co-ordination. It provides no new positive certainty to replace the discredited certainty, but is what the name implies: the raising of a question which the old certainty no longer answers.
The end of poetry is not to create a physical condition which shall give pleasure to the mind... The end of poetry is not an after-effect, not a pleasurable memory of itself, but an immediate, constant and even unpleasant insistence upon itself.
Evil I had never found satisfactorily placeable as an integral element of the universal, or total, content of existence. Indeed, evil is evil just because there is no logical place for it, no room in reality for it. It is unreal, and yet real as something unreal.
What second love could she [Olympias] make out of her ruined first love? The second love that most women make out of their first love for husbands grows from a mutual and tacit sadness in both husband and wife that he is only in rare moments the man both would like him to be.
Ideas are the old-age of art. Artists have to keep young; they must not think too much - thought is death, while art is life. Such was Emile's viewpoint.
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