Woman is the symbol to man of the uncleanness of bodily existence, of which he purifies himself by putting her to noble uses. She thus has for him a double, contradictory significance; she is the subject of his bawdry and the subject of his romance.
Women are strangers in the country of man.
Learning can be a bridge between doing and thinking. But then there is a danger that the person who uses learning as a bridge between doing and thinking may get stuck in learning and never get on to thinking.
rummaging in the storehouses of religious or literary history for myth-matter for ideational uses is of the nature of spiritual vulgarity.
Emile Saint-Blague had been a lively, versatile painter in his youth, but he had abused his energy by painting too many pictures; so that in what might have been the ripe period of his art he had nothing left but ideas. A man who has nothing left but ideas may be of great service to his friends, but he is of no use at all to himself. Emile was certainly an inspiration to his friends.
... 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.
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.
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.
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.
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.
Every thought sounds like a footfall, Till a thought like a boot kicks down the wall.
To a poet the mere making of a poem can seem to solve the problem of truth…but only a problem of art is solved in poetry.
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.
Polygamy and polyandry distribute the frightening physical solidarity of monogamy. Monogamous couples are always hungry for company: to dilute sex.
Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.
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.
All literature is written by the old to teach the young how to express themselves so that they in turn may write literature to teach the old how to express themselves. All literature is written by mentally precocious adolescents and by mentally precocious senescents.
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.
The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human - human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human.
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.
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.
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.
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.
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