Every time you stop a school, you will have to build a jail. What you gain at one end you lose at the other. It's like feeding a dog on his own tail. It won't fatten the dog.
Last of all will come self-surrender. Then we shall be able to give ourselves up to the Mother. If misery comes, welcome; if happiness comes, welcome. Then, when we come up to this love, all crooked things shall be straight. There will be the same sight for the Brahmin, the Pariah, and the dog. Until we love the universe with samesightedness, with impartial, undying love, we are missing again and again. But then all will have vanished, and we shall see in all the same infinite eternal Mother.
Cats are oppressed, dogs terrify them, landladies starve them, boys stone them, everybody speaks of them with contempt. If they were human beings we could talk of their oppressors with a studied violence, add our strength to theirs, even organize the oppressed and like good politicians sell our charity for power.
Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinable gum. Set you down this, And say besides that in Aleppo once, Where a malignant and a turbaned Turk Beat a Venetian and traduced the state, I took by th' throat the circumcised dog And smote him thus.
It is sometimes said that the tragedy of an artist's life is that he cannot realise his ideal. But the true tragedy that dogs the steps of most artists is that they realise their ideal too absolutely. For, when the ideal is realised, it is robbed of its wonder and its mystery, and becomes simply a new starting-point for an ideal that is other than itself.
Here we find the moat of thieves. And just as a lizard, with a quick, slick slither, Flicks across the highway from hedge to hedge, Fleeter than a flash, in the battering dog-day weather, A fiery little monster, livid, in a rage, Black as any peppercorn, came and made a dart At the guts of the others, and leaping to engage One of the pair, it pierced him at the part Through which we first draw food; then loosed its grip And fell before him, outstretched and apart.
But nobody else ever romped with White Fang. He did not permit it. He stood on his dignity, and when they attempted it, his warning snarl and bristling mane were anything but playful. That he allowed the master these liberties was no reason that he should be a common dog, loving here and loving there, everybody's property for a romp and good time. He loved with single heart and refused to cheapen himself or his love.
Now, Watson,” said Holmes, as a tall dog-cart dashed up through the gloom, throwing out two golden tunnels of yellow light from its side lanterns. “You’ll come with me, won’t you?” “If I can be of use.” “Oh, a trusty comrade is always of use; and a chronicler still more so. My room at The Cedars is a double-bedded one.
Contrary to what you may assume, I am not a pessimist but an indifferentist- that is, I don't make the mistake of thinking that the... cosmos... gives a damn one way or the the other about the especial wants and ultimate welfare of mosquitoes, rats, lice, dogs, men, horses, pterodactyls, trees, fungi, dodos, or other forms of biological energy.
When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of humankind.