A mighty mass of brick, and smoke, and shipping, Dirty and dusty, but as wide as eye Could reach, with here and there a sail just skipping In sight, then lost amidst the forestry Of masts; a wilderness of steeples peeping On tiptoe through their sea-coal canopy; A huge, dun cupola, like a fools-cap crown On a fool's head - and there is London Town.
Faith—is the Pierless Bridge Supporting what We see Unto the Scene that We do not— Too slender for the eye It bears the Soul as bold As it were rocked in Steel With Arms of Steel at either side— It joins—behind the Veil To what, could We presume The Bridge would cease to be To Our far, vacillating Feet A first Necessity.
When you begin to become conscious, more aware, when your eyes begin to open, the first thing you see is how deluded you are and how much you're holding onto that which makes you suffer. This is, in many ways, the most important step: Are you willing to be aware?
Tis not your work, but Love's. Love, unperceived, A more ideal Artist he than all, Came, drew your pencil from you, made those eyes Darker than the darkest pansies, and that hair More black than ashbuds in the front of March.
The man and the movement seemed 'reactionary' in my eyes. My common sense of justice, however, forced me to change this judgment in proportion as I had occasion to become acquainted with the man and his work; and slowly my fair judgment turned to unconcealed admiration. Today, more than ever, I regard this man as the greatest German mayor of all times.
Instruments and playthings are sense and spirit: behind them there is still the Self. The Self seeketh with the eyes of the senses, it hearkeneth also with the ears of the spirit.
She dealt her pretty words like Blades -- How glittering they shone -- And every One unbared a Nerve Or wantoned with a Bone -- She never deemed -- she hurt -- That -- is not Steel's Affair -- A vulgar grimace in the Flesh -- How ill the Creatures bear -- To Ache is human -- not polite -- The Film upon the eye Mortality's old Custom -- Just locking up -- to Die.
The true charm of pedestrianism does not lie in the walking, or in the scenery, but in the talking. The walking is good to time the movement of the tongue by, and to keep the blood and the brain stirred up and active; the scenery and the woodsy smells are good to bear in upon a man an unconscious and unobtrusive charm and solace to eye and soul and sense; but the supreme pleasure comes from the talk.
An unfinished coffin on black tressels, which stood in the middle of the shop, looked so gloomy and death-like that a cold tremble came over him, every time his eyes wandered in the direction of the dismal object: from which he almost expected to see some frightful form slowly rear its head, to drive him mad with terror.
With the greater part of rich people, the chief enjoyment of riches consists in the parade of riches, which in their eye is never so complete as when they appear to possess those decisive marks of opulence which nobody can possess but themselves.